@Bep

How did that guy that crack the code for the song, you think he sat around with a freq gen speaker and  and some water?
                                                                                                       Joe

 

I'm not sure what you're talking about. If it is the one I'm thinking of then he cracked it in a dream and it scared him awake.

@Bep... i re read this whole shit... and someting elese popped out at me

heres the stuff http://www.foar.net/2007/05/rosslyn_chapel_motet_1.html  here's the clincher

3. Thomas and Stuart used this metal plate to recreate the ancient method of making notes. The plate is vibrated and sand poured on until it forms a particular pattern - indicating the correct pitch. The patterns match those carved into the arches of Rosslyn Chapel.


Basically we have calculated the frequencies of the 3 notes that the stave angel is pointing out and it amounts to this;
At (ancient tunings)

A = 432

B = 488

C = 512

--------
1,432
How they did this
HOW THEY DID IT..

1 Carved angels and blocks above their head in arches of chapel baffled Thomas until he realised this one was holding a musical stave - and that the blocks signified notes.

2 Using this specially enhanced photo, Thomas and Stuart worked out that the carvings above the angel represent A, B and C.

3 Thomas and Stuart used this metal plate to recreate the ancient method of making notes. The plate is vibrated and sand poured on until it forms a particular pattern - indicating the correct pitch. The patterns match those carved into the arches of Rosslyn Chapel.




Something that should not be passed over is this.. A432 was ingraved in rock everywhere for a reason.. we will never get the results we want using the a440 scale of modern.  Even tho our major chords sound kind of pretty cause weve herd them taht way our whole lives .. theres many more overtones that become presesent when 432 is used.. find an old vesion of the Lycramosa i think its bach and you'll get chills from the one with the choir in a 432 yet the newer versions when they change the pitch to 440 slandered sounds nice and eire but no chills...

EDIT:  More info sepearte source
So, Dr. Jenny?s research puts the final word in on the importance of the
geometric shapes in the sphere, in case we doubted their relation to the
Octaves of color (i.e. visible light) and sound. The ratios of phi and the square
root of 2 are also responsible for the difference between the various tones in
the Octave, when measured as values of vibration in cycles per second. You
can take one note in the Octave and compare it to the note next to it, and the
two notes will always relate by one of these simple ?spiraling? ratios.
Therefore, we can now see that even though it seems strange at first, every
sound truly has a three-dimensional, geometric component. The same would
be true for every color. Some people, including this author, have been able to
perceive this connection automatically in mystical states of consciousness,
without necessarily understanding the vision. Many people who have had
these visions send us email with great relief that they have finally understood
why they were seeing such formations in their mind?s eye

@barbosi
It's funny how things can get so decidedly off topic in such a short period of time, I can only image what we could accomplish when putting all our thoughts into one subject.
I see you are a fan of Russell, I have read "the secret of light" and found myself way in over my head  . On resonance, I would consider it as two systems having the same rate of oscillation, and a lower form of resonance having a whole number harmonic thereof. Of course I am speaking of "natural" resonance not forced resonance as we so often confuse the two. I think the single biggest mistake we have made is not recognizing the effects of attenuation or dampening effects in our primary oscillators, that is presuming the primary oscillator could do work without effect on the source. The equivalent would be to attach a mechanism to a tuning fork to extract work and expect there to be no "reaction" on that tuning fork. But if a tuning fork were to be struck at the appropriate interval corresponding to its natural resonant frequency and work only extracted from additional tuning forks then it is a different story. We should understand that the work extracted from these extra tuning forks cannot effect there natural frequency either, the work must come from the beat note between the two extracted at the base of the tuning fork as a large force over a small distance, in this way the "reaction" of work being extracted can coincide with the source acting on it.

Here are my thoughts.

Resonance is the instance when two or more systems, seemingly unrelated present themselves acting as one. This is possible only when rhythmic balanced interchange occurs between them.

An obvious example is jumping on trampoline. Think about the rhythmic interchange between the person and the trampoline and don't forget that nothing would happen if both would not pass through the "balance" point.

Another example is when we pinch just one piano string, lets say "middle C" (or "Do" for non-american notation). All other "C" strings will start to vibrate. You may reply "what about the frame and all other wooden structure, the air contained in the box?" You are right and all seemingly separate systems act as one.

About tuning forks, the same. Strike one and the second one placed in the vicinity will start vibrate at the same rate (if both forks are identical). I don't recall where I read, but there was described the same experiment, where each fork or both were placed inside of chambers under high vacuum. The sympathetic vibration occurred.

@allcanadian related to the snow ball experiment, I have nothing eloquent to say but it struck me the similarity with Fig.71 - The universal nine octave cycle, at page 263 in "The secret of light".

PS: As I am sure many of you may have lots of examples, many may have counter-examples. I would be happy to hear about what you think.