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25-08-2022

07:33

Khufu's Beat Lab in the Great Pyramid 🧡 When talking in the king's chamber, one quickly notices how speech becomes unintelligible in this unusually reverberative space. Even the granite sarcophagus is sonorous. This chamber likely served a sole purpose - sonic rebirth rituals

It is believed Khufu's pyramid at Giza was constructed during a 47 year period, circa 2,572 - 2,585 B.C. Some perspective about its enormity and scale: (Left) - 100 feet away (Top right) - Pyramid's entrance (Bottom right) - Vertical slice graphic showing chamber's position

POV from the back wall of this thread's focus - the king's chambers

Although limestone was available locally, the granite in Khufu's chamber was transported from Aswan, 500 miles south of Giza. How the immensely heavy granite was transported is still unknown, but it had to get here somehow...

In unventilated areas, granite can produce Radon, a toxic gas that can induce altered states of consciousness. Choosing granite meant Khufu was either a peacocking egomaniac, or it was chosen specifically for its acoustic and psychedelic properties.

The chamber itself is a visually unimpressive, mostly rectangular room, but the architect likely had prior knowledge of acoustics and materials science. These dimensions, paired with the highly reflective granite, create many constructive interferences.

In acoustics, a constructive interference happens when the amplitude of two in-phase waves are summed and the resultant wave is greater than the amplitude of the first two waves. Creating a myriad of constructive interferences within the room was by design.

For comparison, despite being 42 times larger, the sandstone-lined Newcastle Cathedral has a reverberation time (RT) of 3.9 seconds, while the king's chamber has a RT time of 4.09 seconds. *RT is the time it takes for sound to decay to 60dB (The Newcastle choir section):

β€œIn Egypt, when priests sing hymns to the gods, they sing the seven vowels in succession and the sound of these vowels has such euphony that men listen to it instead of the flute and the lyre.” ~Demetrius, circa 200 B.C. Priests used sound, as distinct from words, in rituals.

This passage from Corpus Hermeticum explains why the Egyptians would want such an unusually resonant room given their desire for a continuity of repeated sounds:

I purify my mouth. I adore the gods I exalt Horus who is in the sky. I adore him. The Ennead listens, the inhabitants of the underworld rejoice. They appear at my voice. ~Mahu. 18th Dynasty, chief of the singers of Amun (Horus cymatic pattern appears on the sarcophagus)

By "purify my mouth", Mahu could mean, "use only vowel sounds". Vowel sounds were sacred throughout ancient Egyptian history and their written language contains none. When observing phonology through a cymatic lens, vowels can produce beautiful geometric glyphs. (O and I)

The sarcophagus itself is thought to resemble the womb of the goddess Nut (meaning "sky"). Throughout the entirety of ancient Egyptian mythology, we can see a strong theme of solar rebirth with Nut and Re:

These are translations with references to Nut from the Pyramid Texts were discovered much later in the burial chambers of King Wenis in 2,345 B.C, about 240 years after the Great Pyramid was built. However, many of these utterances had likely existed for centuries:

In 1872, a small bronze tool called a β€œpesh-en-keef”, which means to divide, split, or cut, was found in the queen's chambers below. This tool was used for cutting the umbilical cords of newborn babies and its hieroglyph is believed to symbolize destiny, birth, and rebirth.

It is also believed that the Book of the Dead (circa 1550 B.C.) was used during ritual ceremonies of the living. One researcher mentions seeing a version on a papyrus scroll with margin notes indicating which passages were to be spoken and not sung.

To summarize before moving on - The Egyptians built a highly resonant granite chamber and sarcophagus which produced hallucinatory fumes for enhancing the singing in their mythological rebirth rituals as the central feature of their 480 foot tall Great Pyramid.

If the writings of Diodorus Siculus from 1 B.C. are to be believed, then Khufu wasn't even buried here and this was actually a cenotaph. If so, then this was an ultra luxurious sonic "bath", where the pharaoh would lay in the sarcophagus while priests intoned vowel sounds.

When testing the primary resonance frequencies (PRF) it was discovered that both the chamber and sarcophagus were nearly identical at 125 Hz. What's astonishing is 125 Hz is also the same primary resonance frequency of a 6 week old baby's heartbeat.

The sarcophagus also proved to be full of surprises. In addition to having a bell-like timbre when struck, it was reported to emit powerful "wha-wha-wha" beats with some sustain at 242, 268, and 276 Hz while using the sine wave oscillator and amplifier.

The cymatics testing produced perhaps the most mysterious results. Instead of the typical geometric shapes seen in nearly every other type of cymatics test, many of the patterns were organically asymmetrical and resembled hieroglyphs. (Cymatic pattern at 188 Hz)

The organic cymatic patterns: (Left) - 104 Hz (Top right) - 57.5 Hz (Bottom right) - 63.5 Hz

The cymatic patterns which resembled hieroglyphs at 108 Hz: (Left) - Sa-loop hieroglyph for protection (Right) - The Wedjat Sacred Eye of Horus

Continued: (Left) - Djed pillar hieroglyph for backbone (190 Hz) (Right) - Ra the sun god (198 Hz)

A snapshot of the prime resonance frequency of the sarcophagus as viewed through the CymaScope πŸ‘€

Although Dr. Reid did amazing work, there is still much more sonic testing to be done. I would love to run the cymatics experiment with a small ensemble of singers and recreate all possible vocalizations inside the king's chambers.

In addition to vocals, it's feasible that large drums which can produce some Extremely Low Frequencies (3-30 Hz) were possibly used in some way, even though there was no mention of their usage in any texts. (Ancient Egyptian drum)

Egyptology is such a wild and fascinating topic and if I find more good information that corroborates speculation, I will add it to this thread. For example, the belief that the Great Pyramid can focus electromagnetic energy into its internal chambers is true.

One final thing was a curious imprint of two "flower of life" cymatic patterns on a column inside the Temple of Osirion in Abydos, 340 miles south of Giza. How it was engraved in the column is unknown, but it is believed Greeks made this.

The "flower of life" cymatic pattern, also called the Mereon Matrix, is a 2D representation of a torus. A donut shaped object that may lie at the heart of: knot physics, quantum mechanics, and even reality itself.

A 3D torus:

A standing torus was created at 7.97 Hz at Faraday Instability in the CymaScope and the implications of this are staggering. This will be expanded on in the next cymatics thread.

Addendum: Thank you for your interest and the outpouring of love. Many shared interesting materials and I will add relevant findings, but my aim is to stay within the realm of replicability. Sacred vowels album recorded by Steven Halpern in the chambers (2006):

Full album: The swelling effect - aka "constructive interferences" - are very apparent with just a solo male vocal. Using glissandos, a talented singer could form a chord from the sustained resonance of previous notes.

More music utilizing the chambers: Stellar is a talented singer and the production on this EP is fleshed out with accompanying rhythm and harmony:

If you use audio software, check out Audioease's king's chamber impulse response for their ultra hi-fi convolution reverb plugin Altiverb (behind a paywall). It's likely not the same as recording inside, but it's still cool nonetheless.

The air shafts in the chamber, thought to represent the fallopian tombs connected to the womb (sarcophagus), align with the constellations Orion's belt and the other Alpha Draconis.

A more dramatic representation of linkages with the other pyramids:

Graham Hancock on Joe Rogan's podcast explaining the journey the "ka" or spirit takes after death:



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