These ranged in size from approx 8 inches to approx 8 or 9 feet overall length, and resembled catapults, but with a taut wire stretched between the tines of the “fork”. Inside she found “hundreds” of what she described as “tuning forks”. Some years ago an American friend picked the lock of a door leading to an Egyptian museum store-room measuring approx 8 feet x ten feet. Consider the following anecdote reported in 1997 (from keelynet): These differences merely suggest different ways of setting the fork into vibration. Only the Pictish stone shows a hammer, and only the Egyptian carving shows an extra fork connected by strings. So, what are the chances that an old Pictish stone in Scotland would show several of the same symbols as a carving from ancient Egypt? Both show tuning forks, flower shape, flare shape, and possible liquid associations (one a cymatic liquid swirl, the other a dish that can hold liquid). And further down on the left, that same anvil or bullhorn flare shape.
Beneath them is a four-shaped leaf pattern reminiscent once again of a flower. The left fork is joined at two vibrational nodes, the right at three, possibly implying a 2:3 frequency ratio between the two forks which is the musical interval known as a “perfect fifth” (aka the power chord for you metalheads). There you see two tuning forks joined to each other by strings. Next, consider these symbols on an Egyptian statue of Isis and Anubis (from Crystalinks): These vibrationally induced patterns are virtually identical to design elements found on Pictish and Celtic artifacts. In the above picture, vibrations form standing waves in the liquid, which impart vortical currents in the water that form swirl patterns in dye or oil. For comparison, here is an image of liquid being subjected to vibrations (from Hans Jenny’s book “Cymatics, Volume 1”, page 58): Underneath is a tulip growing from a rounded surface with swirl patterns reminiscent of cymatic patterns in liquids. Their inner floor is made of dirt and raised off the ground at varying levels, which Callahan theorizes was to allow fine tuning of the resonant frequency inside the tower by varying the height of the inner space. If you read the works of Phil Callahan you’ll know these towers, made of highly diamagnetic stone, served exotic/occult functions. It’s also worth mentioning that this stone is positioned right in front of a round stone tower. The result is greater acoustic output from a given driver. The horn can be thought of as an “acoustic transformer” that provides impedance matching between the relatively dense diaphragm material and the air of low density.
The horn itself is a passive component and does not amplify the sound from the driving element as such, but rather improves the coupling efficiency between the speaker driver and the air. Horns have acoustic applications, as explained on Wikipedia:Ī horn loudspeaker is a complete loudspeaker or loudspeaker element which uses a horn to increase the overall efficiency of the driving element, typically a diaphragm driven by an electromagnet. To the right of the fork is what looks like an anvil, ax-head, or horn. Also, the Pict/Celt civilization traces back to Bronze Age. Other materials like stone, iron, copper, and wood are unsuitable. This fork was likely made of bronze, just as bells are made of bronze, due to the ideal stiffness and resilience of the material allowing for prolonged vibrations. A hammer would be needed to strike so large a fork. If both are drawn to scale, then the tuning fork is quite large. There you clearly see a tuning fork and hammer. I will provide some information in this note regarding these applications.įirst consider this photo of the Abernethy Pictish Stone in Perthshire, Scotland:
The alternative health community uses tuning forks for healing purposes.īut what did the ancients use them for? I believe they were mainly used to cut, drill, and levitate stones. Nowadays they are used mainly for testing hearing, tuning musical, keeping time in a quartz watch, and teaching the principles of vibration and resonance in the classroom. Unofficially, their existence traces back to ancient Celtic and Egyptian times. Officially, tuning forks were invented in 1711 by John Shore, a British Musician.