Earth Sings in F#: Kings Chamber and the Nikola Tesla Earthquake Machine / Frequency Vibration

➡ Pyramids, like the Great Pyramid, are not just geometric structures but can act as energy receivers due to their large bases. This energy, which is believed to be infrasonic sound, needs to be harnessed and focused to be useful. Nikola Tesla’s experiments with vibrations and his earthquake machine show how matching the natural oscillation of an object can cause it to break. Applying Tesla’s technology to the Great Pyramid could potentially set into motion tons of stone, transforming one kind of energy into another, similar to a transducer.
➡ The Great Pyramid was designed to convert earth’s vibrations into sound, which was then amplified and transferred throughout the structure. This created a powerful energy field, which some people describe as a strange sensation. The energy was transferred efficiently from one part of the pyramid to another, similar to how sound is amplified in a microphone or a guitar pedal. The Schist disc might be a key component of this ancient technology, but its exact function is still a mystery.

Much to the surprise of your favorite aunt, you know the cool one she’s kind of a hippie, it isn’t the sheer shape and geometric form of a pyramid that makes it have power. This power doesn’t have to be seen as magic. As the harmonic integer of earth that is a higher fractal octave the pyramid acts as a receiver of energy from within the earth via its large base of 13 square acres. A kind of weird energy has been reported by countless amounts of people since all the way back to the time of Napoleon.

Tests have shown this to possibly be the effects of infrasonic sound on the brain that resonate at approximately six hertz. This ambient energy does not become power on its own though. In order to create useful power this energy has to be harnessed and focused. We would need the system to oscillate in coherent unison with its energy source the earth. The system would have to be primed so to speak with mechanisms that grab onto and transfer the energy at various stages. We do this on a much smaller scale today in various ways all of which are too boring to report here.

Enter Nikola Tesla and his earthquake machine. When a singer breaks a wine glass with her voice it’s not because her voice was loud but because she matched the natural oscillation potential of the glass. Nikola Tesla was renowned for doing just this with entire buildings. In one instance things got out of hand. In the name of science of course. Nikola’s comments about this were published by the New York World Telegram really capturing the essence of little Nikki’s process known today as around and find out. I was experimenting with vibrations. I had one of my machines going and I wanted to see if I could get it in tune with the vibration of the building.

I put it up notch after notch. There was a peculiar cracking sound. I knew I was approaching the vibration of the steel building. I pushed the machine a little further. Suddenly all the heavy machinery in the place was flying around. I grabbed a hammer and broke the machine. The building would have been about our ears in another few minutes. About our ears. Outside in the street there was pandemonium. The police and ambulances arrived. I told my assistants to say nothing. We told the police it must have been an earthquake. That’s all they ever knew about it.

I wish I could just be like Mark Twain and get a chance to hang out with Tesla. A reporter asked Dr. Tesla what he would need to destroy the Empire State Building. Tesla replied five pounds of air pressure. If I attach the proper oscillating machine on a girder that is all the force I would need. Five pounds. Vibration will do anything. Fit the natural vibration of the building and the building would come crashing down. That’s why soldiers break step when crossing a bridge. Dunn adds to this. By applying Tesla’s technology in the Great Pyramid using alternating time pulses at the apex of the pyramid and in the subterranean chamber, a feature by the way that all Egyptian pyramids have, we may be able to set into motion 5,273,834 tons of stone.

Once the vibration of the pyramid is coupled to the vibration of the earth, the transfer of energy from the earth to the pyramid could be sustained until the process is reversed. Damn. At this point, we need to know what a transducer does. It transforms one kind of energy into another. In a microphone, a mechanical vibration is converted into electrical impulses. The reverse is done with speakers. Quartz crystals serve as this transducer. When the mechanical vibration, your voice, puts force onto the quartz, it releases electricity. You’ll remember earlier we mentioned the internal stone of the pyramid is not like the outer stone.

It’s the special rose quartz granite that must have been a total pain in the ass to find and travel with. Remember also that the outer coat was a special non-conductive limestone, quite the opposite of rose granite. This is where we get around to this famous yet weird concoction that we’ve all seen. Weird because it looks totally abstract by design. It doesn’t look like decor because well, it isn’t. This is Egyptian mechanistic tech and full megalithic swing. We see five rose granite beams pregnant with quartz with three sides polished and one strategically unfinished.

They are stacked in such a way as to keep them from touching each other or anything else that would dampen its vibe. And maybe you could take some advice from this pyramid. This entire design would be utterly senseless unless it was a system with a specific purpose. Regardless of that fact being self-evident, Egyptologists insist that it’s a relieving chamber meant to take weight off the architecture without filling an entire 10 minute bit or a bitch fest about this. Just know that it doesn’t. Like literally, scientifically tested, it does not perform that task and never has.

So, topologists will say, well, that’s what it was meant to do. For this, we will have to assume the builders made a mistake, making it of course the one and only mistake. Very unlikely. Besides that, you can show a cross-section diagram of this to any working architect and they will tell you that this design will serve no weight-bearing function. The beams are cut smooth on three sides. The fourth is not left rough, but instead adjustable. When you add or subtract mass from an object, its resonant pitch changes with it. We see this in all musical instruments.

The longer the string, the lower the pitch. The bigger the drum, the lower the pitch. The thicker the bell, the lower the pitch. I don’t have one of those though. You can test this yourself with glasses of water or even easier by tapping the side of Dixon Ticonderoga HP soft number two pencil on the edge of your desk. You’ll notice that the pitch gets higher or lower depending on how much mass of the Dixon Ticonderoga HP soft number two pencil is vibrating. By gradually chipping away from the material from the rough side of the beam, they could be fine-tuned.

This way, they could be tested and altered repeatedly before being put to permanent use inside the pyramid where they’d be much less accessible. To test them out first, they would have to be suspended in the air to replicate the spacers that would have been used between them inside the chamber. Postulating this fact caused Grandpa Dunn to write in his 1998 book that quote, I would not be surprised if we found holes gouged out of the granite as the tuners worked on the troublesome spots. Well, now it turns out that there are such holes gloriously drilled into the ends of the beams.

Egyptologists say that the holes were meant for hoisting. Sure, then why not find these holes on any other of the two million megalithic stones? This procedure also ensured that each stone rings to a unique pitch. And if you haven’t guessed it already, these stones are what caused the F sharp harmonic cord that emits from the pyramid. So not magic turns out. But what is still not understood, thus still magic to us, is the meaning of this specific set of pitches, the F sharp cord. First of all, why does the earth seem to sing these particular notes? Second, how did Native American cultures know to tune their flutes to this scale? Third, how did Egyptians and Native Americans both know of this sacred tuning while residing on opposite sides of the earth? To tune a guitar, you use an electronic pitch detector or listen to the desired note from another instrument and meet it there.

What did pyramid builders tune to? What reference does the earth give off that would be detectable to human biology? Now we do have a quartz crystal organ that creates piezoelectricity in the center of our heads. Perhaps this acts as a transducer as well. Keep these videos. Again, blink. Anywho, these quartz loaded granite beams are 17 feet of heavy duty shear resonant vibrational force. Above them are two thick insulating stones, isolating them from the materials above. If you guessed that, these two upper slabs are white limestone. Thank you for paying attention.

I appreciate you. Speaking of the insulating and isolating strategically applied to these beams, turns out the entire King’s chamber is floating, also in such a way as to allow max vibrational stretch, free of any potential dampeners. Basically, the King’s chamber, unbelievably, does not sit on solid rock. Don’t listen to me, take it from done. Not only is the entire granite complex surrounded by massive limestone walls, with a space between the granite and the limestone, the floor itself sits on what is characterized as corrugated rock. See figure 38. There are pockets beneath the floor that indicate that the support for the floor is corrugated like an egg carton with the floor sitting on nodes.

In addition, the walls of the chamber do not sit on the granite floor, but are supported from the outside and sunk five inches below floor level. The entire complex is freestanding from the limestone masonry, has minimal dampening of the floor, and is thus free to vibrate at peak efficiency. It is no wonder the entire chamber rings while tourists walk around inside. Damn. How would any of this apply to a tomb? As the earth’s vibration flowed through the Great Pyramid, the resonators converted the vibrational energy to airborne sound. The specific design and utility of the Grand Gallery was to transfer the energy flowing through a large area of the pyramid into the resident King’s chamber.

This sound was then focused into the granite resonating cavity at sufficient amplitude to drive the granite ceiling beams to oscillation. These beams, in turn, compelled the beams above them to resonate in harmonic sympathy. Thus, with the input of sound and maximization of resonance, the entire granite complex, in effect, came to be vibrating a mass of energy. This is why many isolated aspects of the and researchers over the years as kind of that weird energy feeling from the six hertz strike the coffer inside the King’s chamber and you will hear a deep bell-like sound of incredible, eerie beauty.

This refined technological system at the heart of the Great Pyramid is what operated this power plant. The transferring of energy from one beam to the next would affect the entire series and when we look down the line we see that there are 43 of these giant beams in a chain. The input and output of each beam depended on its mass, thus resonant pitch. Mechanical vibration is the input. Think of your voice into the mic. If the right pitch is applied, pitches that match the natural resonance of the beam’s mass, this transfer of energy would be maximized to an efficiency of very little loss of input gain.

Shout out to my guitar pedal board enthusiasts out there. Hello. Electricity is the output due to this pressure applied to the quartz. So naturally, a question of mechanics might surface at this point. If we are looking at a machine, then what were the moving components like? Where were they placed and what did they do? The answer to those questions might have been hiding in plain sight, behind glass in a museum, and right under our noses. Allow me to introduce to you the Schist disc. This thing is a… [tr:trw].