The Giza Power Plant (21 page)

The
Encyclopedia Britannica
explains this phenomenon: "As has already been suggested, if the damping is very small, a vibrator will draw correspondingly large average power from the source, especially at resonance. If the damping becomes effectively zero, momentarily, or even negative' as can happen under certain peculiar circumstances, the power withdrawal may become so great as to lead to a runaway vibration that may destroy the
vibrator."
⁹

At the Army Corp of Engineers Research Laboratory in Champaign,
Illinois, there is a huge "shake table" that is used to test military equipment. The table can simulate the forces of an earthquake by generating both longitudinal and transverse waves. The vibration of the table can also be ramped up and down to any desired frequency. A demonstration of resonance using the shake table leaves one with a strong sense of the awesome power this unique phenomenon can unleash. To demonstrate the effect resonance can have on an object, the shake table is fitted with several long plastic tubes, around six inches in diameter and of various lengths. The tubes are clamped perpendicular to the tabletop. The table is then vibrated and slowly ramped up in frequency. The tubes slowly sway back and forth until the vibrations reach the resonant frequency of anyone tube, and then that tube begins to oscillate more than the others. If that frequency is maintained for a period of time, that tube shakes wildly while the other tubes remain relatively stable. Before the tube shakes loose from its clamp, the operator raises the frequency and the oscillations of the one tube die down. The frequency of the table continues to increase until another tube begins to vibrate wildly. The process repeats itself across each of the tubes on the table. At its own unique resonant frequency, each tube will draw more energy from the source.

It is clear, then, that in order to draw mechanical vibrations and relieve the stresses that build up within the Earth, we would need an object that would respond sympathetically with the Earth's fundamental frequency. This object would need to be designed in such a way that its own resonant frequency was the same as, or a harmonic of, the Earth's. In this manner, energy transfer from the source would be at maximum load. In harmony with the Earth's vibrations, this object would have the potential to become a coupled oscillator. (A coupled oscillator is an object that is in harmonic resonance with another, usually larger, vibrating object. When set into motion, the coupled oscillator will draw energy from the source and vibrate in sympathy as long as the source continues to vibrate.)

Because the Earth constantly generates a broad spectrum of vibration, we could utilize vibration as a source of energy if we developed suitable technology. Naturally, any device that attracted greater amounts of this energy than is normally being radiated from the Earth would greatly improve the efficiency of the equipment. Because energy will inherently follow the path of least resistance, it follows that any device offering less resistance to
this energy than the surrounding medium through which it passes would have a greater amount of energy channeled through it. Keeping all of this in mind and knowing that the Great Pyramid is a mathematical integer of the Earth, it may not be so outlandish to propose that the pyramid is capable of vibrating at a harmonic frequency of the Earth's fundamental frequency.

As it turns out, such is the case!

Acoustic data, scanty as it is, supports the theory that the Great Pyramid responds to vibrations from within the Earth. I wish I had been with NASA consultant and acoustic engineer Tom Danley when he conducted his acoustical analysis within the King's Chamber. I owe him a great deal because he performed a task that I have wanted to see transpire for twenty years. As of this writing, Danley is remaining very quiet about his research in Egypt because he is currently under a nondisclosure agreement with the Schor Foundation, a private research organization headed by industrialist Joseph Schor. The Schor Foundation funded Danley's research within the Great Pyramid in 1996 and, honoring an agreement with the Egyptian Department of Antiquities, they are keeping strict control of all the information they gathered there.

There was another member of this party, however, who is not keeping so quiet. Boris Said (pronounced Sa-eed) is a self-proclaimed documentarian and was a producer of
The Mysteries of the Sphinx
documentary. Said was under a nondisclosure agreement with Schor as well, but claims that Schor negated the agreement by not telling him that his permit to film at Giza had been withdrawn, or had expired, as he was still working on the plateau. In an interview on the Art Bell radio show, Said described Danley's experiments, which involved the use of large amplifiers, subwoofers, and accelerometers (an instrument designed to detect vibration) that were strategically placed in the King's Chamber and in each of the air spaces above the King's Chamber. Much of what Danley discovered remains with Danley, but what little Said has disclosed to promote a documentary video he produced is quite revealing:

Subsequent experiments conducted by Tom Danley in the King's Chamber of the Great Pyramid and in Chambers above the King's Chamber suggest that the pyramid was constructed with a sonic purpose.
Danley identifies four resident
¹⁰
frequencies, or notes, that are enhanced by the structure of the pyramid, and by the materials used in its construction. The notes from
[sic]
an F Sharp chord, which according to ancient Egyptian texts were the harmonic of our planet. Moreover, Danley's tests show that these frequencies are present in the King's Chamber even when no sounds are being produced. They are there in frequencies that range from 16 Hertz down to 1/2 Hertz, well below the range of human hearing. According to Danley, these vibrations are caused by the wind blowing across the ends of the so-called shafts—in the same way as sounds are created when one blows across the top of a bottle.

Included in the program is a meeting with a Native American maker of sacred flutes from Oregon. His flutes, which are made to serenade Mother Earth, are tuned to the key of F
Sharp!
¹¹

Danley has come up with an interesting theory regarding the wind as the source of the infrasonic sound, but I wonder if he is really hiding something. Did his instruments reveal the source of the sound to be the Earth itself, but he is not allowed to tell? The reason I wonder is that fans have been installed within the mouths of the shafts Danley refers to; and in the west side of the passage leading into the King's Chamber is a tunnel bored to the northern shaft, which has been opened along its length for several feet, precluding any vibrations in the King's Chamber from being caused by the "Coke bottle" effect. Moreover, the fans were installed to
remove
excess heat and humidity, and are drawing air
from
the pyramid's chambers through the shafts to the outside. All of these are conditions that would make the "Coke bottle" effect extremely unlikely. Danley, as an acoustical engineer, must know this as well as I do. Therefore, I wonder if the most likely source for the infrasonic sound within the King's Chamber is the Earth itself.

I recently had the opportunity to confirm the acoustical phenomena of the King's Chamber in a unique and rather fortuitous way, although without Danley's instrumentation or expertise. On February 24, 1995, I paid the inspector of the Giza Plateau $100 to leave me inside the Great Pyramid after all the tourists had left and it was officially closed. It was Ramadan, a sacred time for Muslims, and tourist attractions were closing early. I had
asked to be left alone in the Great Pyramid for thirty minutes with all the lights turned off. Mohammed, the inspector, thought I was going to meditate, and I did not correct his thinking as I negotiated the deal. My backpack was weighted with my water bottle, an essential item in Egypt, and some instruments I had brought along specifically to take some acoustical and electromagnetic frequency measurements. I was pressed for time, and the activities I had planned allowed no time for meditation. I had asked for the lights to be turned off because I did not want any background electrical noise to affect the digital frequency counter with which I was equipped. I had brought this along to measure radio frequencies that I believe can be generated by the resonant chamber inside the Great Pyramid. I also had brought along a tape recorder, which I turned on and placed upon a block of granite situated close to the granite coffer (I will call the coffer a "box" from this point forward) in the King's Chamber. Using this block as a work stage, I positioned my flashlight, the digital frequency counter, and a monochromatic tuner, which measures sound frequency and is used to tune musical instruments, as I heard the last batch of tourists making their way down the Ascending Passage to the outside.

When the noise faded away, I began to test the frequency of the granite box. I had read in a booklet by flautist Paul Horn (that accompanied his album
Inside the Great Pyramid)
that the granite box resonated at a frequency of 438 cycles per second
(Hz).
¹²
Horn had used a Korg tuner, which is quite a bit more expensive than the Matrix tuner I was using, to perform his own acoustical tests inside the chamber. I thumped the side of the box with my fist. The tuner registered between 439 and 440 Hz. I loudly hummed that note to test the resonance of the King's Chamber. Sliding up the scale, I noted that the reverberation faded until I produced the same note one octave higher, and then the reverberation was even greater. It was then time to test for radio frequencies, and the lights were still not turned off. I was becoming concerned because I had to be out of there in fifteen minutes, so I crouched back through the passageway, stood at the top of the Grand Gallery, and yelled to the guards to turn off the lights. While there, I intoned the note I had hummed earlier, then scurried back into the King's Chamber with the intent of being by my flashlight before I was pitched into darkness. At last, the hum of the lights ended abruptly; I was left with only the light from my
flashlight. My heart was pounding in my chest. I was sweating profusely. I had reached the moment of truth.

Not that day! To my chagrin, I realized that the hum of the lights was masking the whir of fans installed in the alleged "air channels." The guards had turned the lights off, but, as I discovered later, they could not turn off the fans without a key to the electrical box that controlled them. I "blessed" Rudolph Gantenbrink for such a fine engineering job, for he had installed those fans before he made his famous exploration of the Queen's Chamber shafts. Disappointed that I would not be able to use any data, I went ahead and took some readings anyway. I then packed my materials and hurried out of the King's Chamber, down the Grand Gallery, tortured my thighs again down the Ascending Passage, then walked quickly through Al Mamun's forced passage to the gate and out to fresh air.

Back in my hotel room, I rewound the tape, played it back, and discovered three very interesting acoustical phenomena. First, the tape had picked up overtones to the note I was humming in the King's Chamber. I had been unable to hear them while I was in the chamber because I was the source of the sound. This was a very exciting discovery, as it supported my theory on the King's Chamber. I tempered my enthusiasm, however, with the thought that it might be the equipment that was resonating at a higher frequency and generating this overtone. Mine was not a very expensive tape recorder, but still I believe the overtones were generated by the chamber complex itself (including the granite ceiling beams) because of the King's Chamber's true design and purpose. The second discovery revealed that when I was on the Great Step at the top of the Grand Gallery yelling to have the lights turned off and then humming the tone, the playback sounded as if I had never left the room. At that moment, except for a small passageway, there were thousands of tons of granite and limestone that separated me from the recorder, and my voice was being projected into a 28-foot-high and 157-foot-long expanse of space. The third revelation was that the footsteps and noises I made, while traversing the low passage to and from the Grand Gallery, reverberated in the King's Chamber and caused it to resonate at its natural frequency. This was noted on the Matrix monochromatic tuner that was turned on as I played back the tape. My footsteps and noises were registering at approximately 440 Hz. I particularly noted that the fluctuations of the
tuner during this section of the playback were not as great as those I had observed inside the King's Chamber when I was humming the frequency.

On June 8, 1997, I was discussing these phenomena with Stephen Mehler, the director of research for the Kinneman Foundation. In February 1997 after appearing with Mehler on a television panel discussion in Santa Barbara, California, I had sent him an abstract of my theory regarding the Great Pyramid. He told me about an acoustics engineer named Robert Vawter who had done some studio analysis of a tape recording that he (Mehler) had made inside the King's Chamber. As he related it to me, those results were the same as mine. I was given Vawter's phone number and promptly gave him a call. Vawter confirmed what Mehler told me. He said that he had digitally processed the tape provided by Mehler, and he was able to isolate harmonic overtones of the intoned frequency. Vawter claimed that the King's Chamber was designed specifically as a resonant chamber in which sound of specific frequencies would resonate. He said that every dimensional feature of the chamber he had studied indicated the manifestation and form of harmonic resonance. He was in the process of compiling data to support his statement and will be publishing his findings in the future.

While I was discussing with Mehler my experience inside the King's Chamber and the noise of the tourists as they were leaving the pyramid, he related a report by Howard-Vyse, who claimed that he was in the King's Chamber and was able to hear a conversation taking place in the Subterranean Pit. Vawter confirmed the speculation that this is because the entire interior passageway was designed to maximize the throughput of sound. This same phenomenon is well known at St. Paul's Cathedral in London. The Whispering Gallery has surprised many a visitor, who hears a voice and turns around to see who is speaking, only to find no one there. The gallery is circular, with walls made of hard material. The sound of a person speaking in a low voice on one side of the gallery will be reflected around the circular wall, just grazing the hard surface, and can be heard on the other side of the gallery. The angle of incidence ensures total reflection of the sound.