Ray opened a hall on the southside of Nashville. Hope it survives the pandemic.
O.k after making some adjustments the sound is off the charts.This is BIG.
Sam here and in a previous post i talked about the great pyramid of giza built 2500 years ago being a resonator for sound frequencies and here’s what i learned. The sarcophagus within the kings chamber of the great pyramid of giza resonates at A = 438 hertz frequency and the kings chamber itself resonates at an F# or 368.31 hertz frequency. Now i took the 368.31 hertz measurment exactly not realizing the .31 was not used so i tried 368 hertz frequency and the results were better and then i tried 369 hertz frequency and the sound improvement was off the charts.Now i have no idea what the significance of 369 hertz frequency is in relation to sound however there is something very magical about that frequency and the egyptians knew what it was. You have vinyl cut from an analog source,Vinyl cut from a digital source,analog tape,Digital audio. All of these have there own sound signatures. And now you have 369 hertz audio and it has it’s own unique sound signature that might possibly be superior to anything i have ever heard. Here are some audio sample’s for you to judge my theory on.
Bob Dylan - just like a woman 1966 digital download flac 16/44 same source before/after.
before http://u.pc.cd/Xfs
after http://u.pc.cd/jJwitalK
Bob Dylan - just like a woman 1966 digital download flac 16/44 same source before/after.
before http://u.pc.cd/Xfs
after http://u.pc.cd/jJwitalK
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Here's a quick anecdote about the Grateful Dead, their shows at the Giza Sound and Light Theater, played at the foot of the sphinx and the great pyramids in 1978, and their sound man trying to harness some of that kings (echo) chamber magic (as well as one of the shows taking place during a lunar eclipse. They say that by the third show, more
Bedouins emerged from the desert to watch the shows than there were deadheads present. Article: https://thegratefuldead.fandom.com/wiki/Rocking_The_Cradle:_Egypt_1978 Quote: The concerts played with time and space, as Egypt itself is timeless. The mass of the Great Pyramid warped local dimensions. The vast, ancient structures with which the music of the Grateful Dead attempted to come into phase and alignment hosted us in silent grandeur. We tried to draw them into the music by using the King's Chamber deep inside the Great Pyramid as an echo chamber. Dan Healy set up a radio link from a PA tower to the corner of the Great Pyramid, and from there John Cutler had run a 2,000-foot length of wire up through the Ascending Passage and the Grand Gallery to a speaker in the King's Chamber. A microphone picked up the sound and sent the feedback to the radio relay and thence to Healy's mixing console. Throughout the first set on September 16, I traveled back and forth between these locations, facilitating communications. Courtenay Pollock, original Grateful Dead tie-dyeist, "om-ed" in the Sarcophagus. Ultimately we failed to make the connections work, and the Great Pyramid remained a silent witness. Some said that a genie had bamboozled us; others that the wiring was cheap and flawed. But as I went back and forth from the stone silence of that inner chamber to the festive panorama of the concert, I felt an enhanced connection to the music of the spheres. It helped that the full moon was in total eclipse, a cosmic event unforeseen when the MIDS booked the concert dates six months before. But such entrainment was the order of the day, for another event was taking place. The Camp David peace talks between Begin and Sadat, which had been in secret negotiation mediated by President Jimmy Carter, were even at that moment reaching agreement, and on the following day, September 17, the historic Peace Accord between Israel and Egypt was signed. To have found ourselves simultaneously in tune with cosmic and worldly events at the Great Pyramid was a humbling experience. |
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