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528Hz Frequency Discussion
Last Post 08-04-2012 12:25 PM by raymack. 26 Replies.
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anonymous (guest)

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03-12-2010 11:24 PM  

Blasterix hit some of the questions I was wondering about.  In addition, I'd like to ask:
1. If you tune individual notes to the "sacred circle of sound", do you still have octaves and chords?
2. If so, this implies a whole new music theory using "just tuning" which I cannot find anywhere on the love528 site.
3. Apparently, they're just doing offset tuning, which goes to Blasterix's #2 above, where none of the other sacred frequencies will fall on the other notes.

Anybody???

Mantuan Bard (guest)

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03-22-2010 07:56 AM  

 

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One of the major problems lies with trying to incorporate/transpose the Solfeggio tones onto an Even-Tempered manufactured instrument, particularly guitar.  Over time, most of the musical world came to agree on a scale called the tempered scale, with the A note set at 440 Hz [or previously 417 to 432Hz] and all of the other notes tuned off of that. In the classic Circle of Fifths tempered scale, all of the notes are offset by the 12th root of 2 (roughly 1.0595). That is, if you take any note's frequency and multiply it by 1.0595, you get the frequency for the next note{fret}.

 

So, on fretted instruments we are playing irrational numbers! And any of you who have trouble tuning your guitars might get a clue as to why they are so hard to tune. Our ears don't like the irrational numbers, but we need them to make complex chordal music. The student of music must learn to accept the slight dissonances of the Western scale in order to tune the instrument and to play the music. 

 

Our ears actually prefer the Pythagorean intervals, and part of learning to be a musician is learning to accept the slightly sour tuning of well-tempered music. Tests that have been done on singers and players of instruments that can vary the pitch (such as violin and flute) show that the players and singers tend to sing the Pythagorean or sweeter notes whenever they can. [OP: and bending notes on guitar allows one to find the ‘Sweet Spots’ also]
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Personally, as a guitarist of 32 years, tuning up higher than A = 440 Hz is just plain insane {A=440 is nuts}, I’ve always tuned down as a general matter of principle, A = 444 Hz is just WAY TOO! Irritatingly high & bright a tone, it’s just not right; the entire row in the first place over opposing A=440Hz, sponsored in 1939 by Nazi propaganda minister Joseph Goebbels dictating 440Hz as the standard tuning pitch, was mostly over that very issue – that anything over A=432Hz was musically unpalatable, which I wholeheartedly agree.

 

I trust my ear; For me the sweet spot has always been, just by tuning by ear, A = 419 Hz, which subsequently places 528 Hz as a C# .  I realize that shifts the entire ‘Center’ balance aspect of the Sacred Solfeggio Frequencies diagram chart out of whack, but A=444 is like A=440 on Ritalin, it makes me recoil.  A = 419 Hz is a very cool Fonzie 'ehhh' A. 

 

Just my 2c.

 

 At A = 419, C# = 528Hz, you will get 4 or 5 close-to-overlap Solfeggio frequencies that incidentally occur throughout the fret board:

 

All in Hertz, using A=419


 F# = 176.1   approx.  174 Foundation

 D = 279.6    approx   285   Quantum Cognition

G# = 395.5   approx   396   Liberating Guilt and Fear

 A = 419       approx   417   Undoing Situations and Facilitating Change

A# =443.95   approx   444 Scott Huckabay tuning basis

C# = 528 Hz  approx   528   Transformation and Miracles

 

   Selah…

 

“Music is the mediator between the spiritual and the sensual life.

Although the spirit be not the master of that which it creates, yet it is blessed in this creation, which, like every creation of art, is mightier than the artist.” 
Beethoven

“Music is the harmonious voice of creation; an echo of the invisible world;

one note of the divine concord which the entire Universe is destined one day to sound.” 
Mazzini

“There is something marvelous in music. I might almost say it is, in itself, a marvel.

Its position is somewhere between the region of thought and that of phenomena;

a glimmering medium between mind and matter, related to both and yet requiring rhythm; material, and yet independent of space.” 
H. Heine

 

Daniel KoehlerUser is Offline
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03-22-2010 11:27 AM  

 

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<!--[if gte mso 9]> Normal 0 MicrosoftInternetExplorer4 <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} p {mso-margin-top-alt:auto; margin-right:0in; mso-margin-bottom-alt:auto; margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> <!--[if gte mso 10]> This letter you wrote proves there is intelligent life out there!  Well written and I can see it took a concentrated effort and a job well done. 

 

I was poking around a little and decided to take the numbers to an extreme for fun and came up with so exact (beyond what is required and who can tune that exact anyway) calculations...

 

A=419.074 which makes C# at 528.000

 

F#=176.199

D   =279.698

G#=395.553

A  =419.074

A#=443.993

C#=528.000

 

 

All in all your 419 is plenty accurate just like A=444 is plenty accurate with C note hitting 528.008

 

Although I am not an expert on guitar and only played bass a little... I do hang around some due to the technology I am around.  Wood as a sound board reflecting is excellent and we support that, but transferring through wood to get to the other side is NOT good but resisting the signal. The transferring material morphs the sound to the matrix of that material then is reflected as this alters the sound.

 

Also you are right again with the guitar sounding mellower at 419 hertz.  Pitching an instrument to different base pitches will change the sound a good amount.  What we are finding out in our neck of the woods (pun intended) is that the guitars, pianos and other acoustic stringed instruments have a tone tuned cabinet to facilitate the instruments weak areas of sound production.  For instance; if a piano design was having trouble with the lower notes (100 hertz plus) they would tune the sound board to resonate the 110 frequency as the sound boards "sweet spot" and therefore when you played it the problem frequencies were less of a problem for them as they accentuated their week area.  This also diminished their good area too and put things a little more in balance.

 

When you tune slightly lower in pitch you will take away that tightly strung strings and get mellower sound with looser strings.  Depending on the fret board and how far way from the frets the strings are could have extra buzzes due to the loose strings and the neck may have to be adjusted.  Your strings should last longer though. 

 

We found the guitar though with granite (and now quartzite) has a more mellow pitch to begin with since we are using stone and it loves the higher pitched frequencies and actually brings out a better sound when pitched higher because it's not a piercing going through the substance. Plus our sustain is incredibly long that we can bend the string (even the high ones) and they keep ringing and ringing as you freely bend and unbend them and keep that moment going 2,3, and 4 times.  Also professional guitarists tell me those wooden guitars when playing multiple harmonics... that the stronger harmonic vibrations will cancel the weaker ones out and you're left with only one ringing.  With stone the mixing of harmonics is done ON the stone the body of the instrument reflects all tones create a condition so that many harmonics can be played and they all keep going together for long periods of time!

 

Another interesting thing is because the medium we are translating through (stone) which is more dense than wood, that on a bass guitar it can taken to incredible speeds as it is articulating things faster and clearer and not garbling. Just an observation we came across while guitarist tested out our prototype instruments.  

 

The piano is doing the same thing as the harmonics mix on the bridge and the sound board is reflecting the mixed condition on the whole piano.  Being we used granite in our piano enhancement the signal can travel quicker and farther and disburses the energy across the whole sound board as one entity, which this creates an amazing pure signal mix we are finding out.  We are still in the study side of things and nothing has hit the market yet but when it does it's going to open a whole new door of sound and frequencies available that would be damaging to an instrument otherwise. 

 

In a nutshell we will tune or pitch our instrument to the responding apparatus that is reflecting or transmitting the tone to tweak it's personal sweet spot, just like you did with your guitar. I agree tuning a piano or a guitar (if bright already) is annoying even more when wood is concerned and pitching to A=444.  Also I have found out with stone we have to pitch it higher to get to that sweet sound so the material you use dictates what pitch sounds good is what we found out.  The future will tell us more a deep study is made on this and currently going way farther than anyone knows, but for sure you will see a change or fresh wind blow.  

 

If you want an example of the mellow piano sound that we have at A=440 we have a video on myspace that goes back and forth from a wood bridge piano and a granite bridge piano, and the side by side differences that you can hear as a manufacturer concert pianist discovers the difference on camera for the first time.  www.myspace.com/granitepiano   This is at A=440 and mellow

 

We have pitched the piano to A=444 hertz (not seen or heard yet on the web) and the piano has come alive with less mellow and even more pleasing sounds that we are feeling a presence and are in full study as to why. We currently think it has to do with the bending of the stone with the 40,000 pounds of pressure and half ton down bearing, but unsure yet and we will let people know when we have conclusive evidence.  Very interesting times as we are just weeks away from another prototype with more information coming forth with limits gone beyond just to see what gives!  Daniel Koehler 

 

<!--Session data-->
 

Mantuan Bard (guest)

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03-22-2010 05:13 PM  

 

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Right on man, thx for the props.

 

Very, very interesting, I wouldn’t have thought to use any stone/mineral material as the basis for construction of an instrument.  LOL, ironic, for me, because I am a life-long Rockhound [by temperament and practice] and later geology graduate school dropout; I found, much to my dismay, that performing all the mental & physical tasks required for a Masters level science degree left me literally bereft of my musicianship capabilities, my guitar playing capacity diminished in a direct inverse relationship to the amount of focus for class requirements.  So, that was ultimately not a very tough decision to drop grad school – anything that impacts/interferes/influences to that level/degree with my god-given & hard-earned musical talents does not have a place in my skill set. 

 

Regardless, geology is cool nonetheless.

 

With regards to your, “…We currently think it has to do with the bending of the stone with the 40,000 pounds of pressure and half ton down bearing…”, experiment, of the many P-T-X factors involved with that operation, Quartz/Quartzite stands out b/c it has a lot of natural Piezo-Electric properties inherent in its structure when subjected to enormous pressures.  Thomas Bearden went so far as to say/demonstrate [circa 1988] that it is the quartz mineral element in E.Q. prone fault zones that produces the ‘Ball Lightning’ UFO effect, according to Bearden via Scalar EM magic coupled with the inherent Piezo-Electric effect.  In essence, [and I’m unsure as to how ultimately correct Bearden may have been on this] that specific PTX quartz fault regime acts as a transmitter magnifier of sorts and can also split a ‘normal’ Hertzian EM frequency bolt into a ‘Scalar’ pair of frequency waves, that later at some distance from the fault ‘Cross-Beams’ and re-unite into normal Hertzian EM mode and display Ball Lightning as a result. {personally, I have a totally different take on the UFO issue and it’s manifestations, it’s out of scope to this reply ATM, but I live but a 5-iron distance, couple hours away, from James Gilliland on Mt. Adams Trout Lake WA, and he’s ‘Summoning’ those Djinn Light creature UFO's constantly, it’s a Qi-Qong meditative practice thing, and it seems to work in spades; JZ Knight’s Ramtha’s School of Enlightenment is even closer here and they do the same thing essentially}.

 

So, point being is that aside from the obvious Quartzite Piezoelectric {Scalar Bearden} effect, there is most likely many heretofore unknown behavioral material property aspects WRT the many many many other different facies of rock & mineral <!--[if gte mso 9]> Normal 0 false false false MicrosoftInternetExplorer4 <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> <!--[if gte mso 10]> {quartz is great for Ultrasonic applications}; I’m sure you’re well aware of all that and I’m probably not telling you anything that you haven’t already considered; your guy’s Tom Edison-like empirical approach to discern the different mineral/rock material Frequency reactions is the way to go.

 

Sounds sweet man, Rock-On Dude!

 

 

The entire Wiki entry is actually very good, even for Wiki...I included a few releavent excerpts.

 

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http://en.wikipedia.org/wiki/Piezoelectricity

 

Piezoelectricity is the ability of some materials (notably http://en.wikipedia.org/wiki/Crystal">crystals and certain http://en.wikipedia.org/wiki/Ceramic">ceramics, including http://en.wikipedia.org/wiki/Bone">bone) to generate an electric field or electric potentialhttp://en.wikipedia.org/wiki/Piezoelectricity#cite_note-InstrumentAnalysis-0">[1] in response to applied mechanical stress. The http://en.wikipedia.org/wiki/Piezoelectricity#Mechanism">effect is closely related to a change of polarization density within the material's volume. If the material is not short-circuited, the applied stress induces a voltage across the material. The word is derived from the Greek piezo or piezein, which means to squeeze or press.

 

The piezoelectric effect is reversible in that materials exhibiting the direct piezoelectric effect (the production of an electric potential when stress is applied) also exhibit the reverse piezoelectric effect (the production of stress and/or strain when an electric field is applied). For example, lead zirconate titanate crystals will exhibit a maximum shape change of about 0.1% of the original dimension.

 

The effect finds useful applications such as the production and detection of sound, generation of high voltages, electronic frequency generation {Ultrasonics}, microbalances, and ultra fine focusing of optical assemblies. It is also the basis of a number of scientific instrumental techniques with atomic resolution, the scanning probe microscopies such as STM, AFM, MTA, SNOM, etc., and everyday uses such as acting as the ignition source for cigarette lighters and push-start propane barbecues.

 

<!--[if gte mso 9]> Normal 0 false false false MicrosoftInternetExplorer4 <!-- /* Font Definitions */ @font-face {font-family:Wingdings; panose-1:5 0 0 0 0 0 0 0 0 0; mso-font-charset:2; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:0 268435456 0 0 -2147483648 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} a:link, span.MsoHyperlink {color:blue; text-decoration:underline; text-underline:single;} a:visited, span.MsoHyperlinkFollowed {color:purple; text-decoration:underline; text-underline:single;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} /* List Definitions */ @list l0 {mso-list-id:569463448; mso-list-template-ids:-1571636972;} @list l0:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:.5in; mso-level-number-position:left; text-indent:-.25in; mso-ansi-font-size:10.0pt; font-family:Symbol;} ol {margin-bottom:0in;} ul {margin-bottom:0in;} --> <!--[if gte mso 10]> Many materials, both natural and man-made, exhibit piezoelectricity:

Naturally-occurring crystals

 

 

Selah...

 

 

Vic ShowellUser is Offline
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09-08-2010 07:41 AM  


Len asked me to post this,
as a simple number system analysis easily followed
on 528.

This is a display of 528 harmonics.

It does not nullify Phi harmonics,
and neither does phi nullify 528as a powerful source,
as there has been some conflict over this.

528 is love.

Phi is love.

There should be no argument.

They both as number values surge through the universe.

Here I will show a simple number systems test
with Khufu pyramid cosmological calendar harmonics
{applied to pyramid dimensions of course}
that are paralleled to a number system test
using simply
9 x 8 x 7 x 6 x 5 x 4 x 3 x 2 1

in the wrap up further below.

Khufu base: 756 ft x 12 inches = 9072 inches

9072 inches / by 440 cubits = 20.618 18 18~

That was easy wasn't it?

The Royal Cubit is 20.618 18 18~ = { 1134 / 55 }

Now,
look at this as just pure numbers:

The length of the base of the Khufu Pyramid
is 756 feet.
528 / 756 = A
then A
times 10 Royal Cubits = 144 = 12 squared.

Or it could also be the mile 5280 as a number value:
5280 / 756 = A
Then A
times the Royal Cubit = 144 = 12 sq.

528 is an extremely versatile number.

That is just a first step number system test
on 528 harmonics.


Here is my reply in the email to Len:

In the Khufu pyramid
there are 756 feet
in each base length as a square pyramid.

The basic planetary equation
that functions with this Khufu base length
is set like this in the harmonics:

756 x 10 = 7560

7560 = 11 x Mars 687.27 27 27~ sidereal
= 20 x Saturn 378 synod
= 21 x 360 ancient calendar count Earth year

NASA is 687 for Mars orbit around the sun.

Mars as : 687.27 27 27~
is how the Egyptians created
a calendar accounting system to account for
the planets movements ... and more....much more..

to adjust it is simple every 2520 years of count ...
one Mars sidereal is subtracted to balance
with Pascal 252 x 10 = 2520

This is also the same style of process
as to how the Mayans accounted in their Long Counts.

Now,
the Khufu base has 756 feet
and then
TIMES the 4 sides = 3024 ft.
3024 ft. then x 12 inches = 36288 inches<-----!
NOTE that value!

Now
take the 9 base numbers known to man
and you don't need the 10,
... it just bumps the decimal,
the result will be the same or 5280 mile value.
Simple number system test:
9 x 8 x 7 x 6 x 5 x 4 x 3 x 2 x 1 = 362880 <---!
= 10 times the total Khufu base length in inches!

Thus:
----> 362880 <------
divided by:
Egyptian Khufu Pyramid Mars 687.27 27 27~ =
528 Solfeggio

nuff said about that eh?

now to bring it all together

there are 540 degrees in the phi based pentagon.

look at 540 like a number.

540 x Khufu pyramid slope tangent 1.27 27 27~
= 687.27 27 27~


4 / by Ancient Pi = 1.27 27 27~ = { 14 / by 11 }
Ancient Egyptian Pyramid Pi = { 22 / by 7 }

arcatangent { 1.27 27 27~ } = 51.84277~ degrees.

Winter would have to ascribe to sqrt. Phi
as Khufu slope tangent,
and that is just fine and proper as anything else,
but it is the less valid in the mix
of the top 5 competent choices really,
but it is still very valid as well
because
the difference between phi based slope
and let's say
arctangent 4 / modern Pi,
is only about a quarter inch to half inch
in pyramid height.

There are lots of "valid" approaches
to the Khufu pyramid.

It is impossible to define a true
Khufu set of measurements
of height and lengths
without
using the Ancient Pi sevenths { 22 / by 7 }
as the base geometric model
to define INTENT with mathematics<----

4 / Ancient Pi = 1.27 27 27 27~ = { 14 / by 11
}
Ancient Pi is PYRAMID Pi = { 22 / by 7 }

why is that the ONE?
easy.

Ancient Egyptian
Pyramid Pi ={ 22 / by 7 }
-------> = { 2.2 / by 0.7 }
-------> 0.7
is the ratio of the pyramid height
481.09 09 09~ feet
to Mars 687.27 27 27~

That leaves { 2.2 }
arctangent 2.2 = 65.55604522 degrees
{ 1 / by cosine 65.55604522 } squared = 5.84
--------> the 584 day NASA Venus synod

ie
take cosine 65.55604522
take 1 / cosine
square it = 5.84

It is absolutely impossible
for that to be a random number anomaly.

It is a statistical lock.

Pyramid Pi is different than just modern Pi.
There are many forms of Pyramid Pi.

example:
The Royal Cubit = 20.618 18 18~ = { 1134 / 55 }

the English researchers tend to look at:
the Petrie high end cubit value
................is 20.625

to extrapolate Pi 3.14 18 18 18~

That Pi value works with one Egyptian value
for { ancient Phi squared } as:

2.618 18 18~ times 120 =
Petrie style Pi
as 314.18 18 18 18
.
That ancient phi squared style of value
exists with Pi value 3.14 18 18 18 18~ =
1728 / 550

The Phi squared value just mentioned
= 144 / by 55.


This equation
that will calculate ALL forms of Pyramid Pi
used by aligning to

2160

687 .27 27 27~ times Ancient Pi = 2160

2160 = 687.5 x Petrie Pi value 3.14 18 18 18~

So is 687.5 a Mars value?
NO!

It is a function of the equation:
687.5 x 687 .27 27 27 = 472500
= 1250 x saturn synod 378
<---> see stonehenge stuff on 4725

For Winter:
Convergence harmonics with floating decimal,
the above calculated value:
472500

472500 / by Venus synod 584 = 809.0753425 <-----!


.... divide that by 1000 = 0.8090753425

= sine pentagonal phi based 54 degrees
= Phi / by 2

actual result is:
54.00568801

factor of error is 1 / 10,000
.... close enough I would say.

NOW the finale:

connecting the Khufu slope tangent 1.27 27 27~
into Phi harmonics as closely as possible.

PS:
for Khufu slope tangent 1.27 27 27 27~
----> use fraction { 14 / by 11 }
---> fractions always in hand calculator calculations


--->19 x 21 = 399 day Jupiter synod to Earth

Khufu slope tangent {1.27 27 27 27~} Squared,
TIMES 19 =
........tangent phi based 72 degrees x 10

actual result is { 14 / 11 } squared
x 19 = 30.7768595
..... then / by 10 = 3.07768595
= tangent 72.0000132 degrees..

factor of error = 1.0000008

or ..... 8 / by one billion <-----

Love and Peace
VS
PianomanjoeUser is Offline
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09-08-2010 09:29 PM  
Discussion in and around this frequency is fine and fun and a wonderful intellectual exercise.

But seeing that the potential of this frequency is to heal and assist in improving one's health at the level of DNA and probably below that, the only way an individual can assess how well 528Hz lives up to it's description is to try it and experience it first hand.

How do you feel after listening to music that uses this tuning? Any changes in any aches or pains you had before listening? Has your mood changed? Any changes is blood pressure, respiration, or heart rate?

"It don't mean a thing if it ain't got that swing" - Duke Ellington
Ray MackUser is Offline
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08-04-2012 12:25 PM  
Hello,
After much confusion, reading, research and frustration I have finally made sense of your various arguments about what (+cents) number should be used to change the master tune in your DAW/Synthesizer/Instrument in order to make your DAW/Synthesizer/Instrument perfectly generate a 528hz C4 tone.

Now first I start off by quoting Blasterix because his theory seemed to have a lot of merit and nobody responded to his analysis/theory. However, I also think it has merit for me because both Blasterix and I use Logic Pro as our DAW. (Find the quote of his theory at the bottom of my overly long post)

Now after doing extensive frequency analysis experimentations by changing the master tune of logic by different amounts while oscillating C4 sine waves from multiple sources in different recordings. I have found the perfect +cent amount that exactly equals 528.00hz down to 2 decibel places. (I only mention 2 decibel places because thats as far as my frequency software analysis goes to. (I am using Praat on Mac OS X 10.5.6). (Please let me know if you have an analysis program for mac os that goes down to further decibel places)

First I started the experiment by using the +12 cent master tune adjustment (which Logic says is 443.1hz) (to achieve a 528hz C) which is suggested by Dr. Leonard G. Horowitz and Michael Walton on both http://www.love528.com as well as mentioned earlier in this forum thread and also on the youtube videos posted by them. Using Logic 9's EXS24 initial setting that generates sinewaves (if you do not load a sample kit) the analysis of C4 played at this position generates a C4 Tone with nearly the exact frequency of 527hz. Not 528hz.

In the same test I used Blasterix's +15cents (he says it as 15%) (which is 443.8hz according to logic pro) and this test produced a signal that created a C4 Tone that has a frequency of almost exactly 527.755hz. After this test I noticed that this was even closer to the perfect Solfeggio C4 Tone of 528hz.

However, it was not quite 528.00hz. So I kept messing around with different +cents values and eventually discovered that +16 cents (roughly 444.0 - 444.1hz in Logic Pro) resulted in a PERFECT 528.00hz resonant C4 note. Since Logic says it is 444.1hz and it doesn't give you more than one decibel point... my guess is that it is somewhere around 444.04-444.09hz. (I mention this because I think logic rounds up the decimal place but I am not sure)

Now before you take apart my results I would like to state my MAIN THEORY.

I believe that the results you get can vary based on several factors.
1. The DAW you are using
2. The tone generator you are using.
3. The software that you are using to analyze the frequency spectrum.
4. The PC/Mac system you are using (maybe).
5. Your Soundcard (maybe).

Regardless of these facts Praat is extremely precise in its frequency analysis capabilities and it is my conclusion that WITHIN THE LOGIC PRO ENVIRONMENT the best Master Tune setting to use in order to get as close to 528hz as possible... is +16cents.

In conclusion on this topic I am merely reopening the discussion on the precision of settings and numbers that others mention. I am not a mathematician, nor do I claim to be one. But these experiments speak for themselves. I would like further assistance in researching and learning about this topic because at the most fundamental level "528hz" is the most important factor/goal for all of us. The closer we can get to this geometrically harmonious frequency the better!



On another note I would like to clear something up that I feel confuses most musicians when they are first trying to comprehend how to setup a digital audio workstation to be tuned to the C=528hz Solfeggio Scale Spectrum. I have only heard this question answered once in this thread and it was by Dr Len. Here is the quote of the question and his answer:


"Aaron: Also, I can understand people wanting to tune their instruments to incorporate all 9 of the frequencies, especially if they are being called the original Solfeggio scale.

DrLen: NO! Please do not do this. It will sound horrible. Not melodious. Tune one string to one of the frequencies, and then the rest to that one. Start with the middle "C" in 528Hz. Then all the strings will be tuned to that frequency, and you can simply play normally and melodiously."


I feel that this explanation falls extremely short of what should be an extremely simple explanation for musicians. The answer to this question is that each frequency they mention in the graph that they use corresponds to the ROOT NOTE of a scale which is based on each of these frequencies being used as the ROOT NOTE TUNING:

For example here is their original graph for tuning:
|Perfect Circle Of Sound| |Korg Oasys Tuning Adjustments|
528hz = C 443.06hz (C) or (+12) cents)
285hz = D 427.37hz (D) or (-50 cents)
639 hz = E Flat 451.07Hz (E Flat) or (+43 cents)
174 hz = F 437.97hz (F) or (-08 cents)
396hz = G 444.09hz (G) or (+16) cents)
852h hz = A 427.47hz (A) or (-50 cents)
963 hz = B 428.96hz (B) or (-44 cents)
417 hz = G# 443.06hz (G#) or (+12 cents)
714 hz = F# 440.00hz (F#) or (+00 cents)

Now here is what they should add to this graph to make it easier to understand for musicians:
|Perfect Circle Of Sound(ROOT NOTES)| |Korg Oasys Tuning| |SCALE|
528hz = C 443.06hz (C) or (+12) cents) C Major, A minor
285hz = D 427.37hz (D) or (-50 cents) D Major, b minor
639 hz = E Flat 451.07Hz (E Flat) or (+43 cents) Eb Major, c minor
174 hz = F 437.97hz (F) or (-08 cents) F Major, d minor
396hz = G 444.09hz (G) or (+16) cents) G Major, e minor
852h hz = A 427.47hz (A) or (-50 cents) A Major, F# minor (avoid)
963 hz = B 428.96hz (B) or (-44 cents) B Major, G# Minor (avoid)
417 hz = G# 443.06hz (G#) or (+12 cents) G# Major (avoid), f minor (avoid G#)
714 hz = F# 440.00hz (F#) or (+00 cents) F# Major (avoid), Eb minor (avoid F#)

For all of the musicians out there.. the simplest I can put this is: Perfect Circle Of Sound Frequency #hz = tuning of the ROOT NOTE mentioned. That is all! You do not need to tune every note on your instrument to these frequencies. Just tune your C4 to 528hz and then tune the rest of your instrument accordingly.

Also, avoid F# and G# in any of the scales due to the dissonance which they create in the entire frequency spectrum no matter what scale you are playing.

I will create a new (+/-cents) model for each scale based off of my findings that +16 cents = 528.00hz for the Logic Pro users. I also plan on trying the same tests in Ableton tomorrow to see if the conclusions are different... which will prove my hypothesis that each DAW and virtual instrument may generate slightly different tones.

I am not 100% sure about what I just mentioned but I think it is what Dr. Len is trying to explain when he says not to tune every note to the Solfeggio frequencies that are mentioned in this graph: http://love528.com/LOVE528/528_Tuner_files/SynthesizerSolfeggioRetuningChart.jpg

Here is another attempt at a simple explanation of the Solfeggio Scale Tuning: What we find is that we are simply shifting the FREQUENCY of the ROOT NOTE in a GIVEN SCALE... to the original DIVINE TUNING that matches the frequency of that root note as represented in the solfeggio frequencies... and that the ratios between the root note and the rest of the scale should remain the same. Thus, if you tune your guitar's C4 note to 528hz you should tune the rest of your guitar using the same harmonic intervals that you would normally hear if you were tuning your guitar regularly. (Or for digital workstations just change the master tune in your synthesizer or DAW by 12cents - 16cents [needs more research]) Otherwise our entire system of chords, musical theory and chord progression breaks down.

Ugh, that sounded simpler in my head. Either way, lets work together to create a universal standard for this concept so that every musician on the planet won't have to learn the math and do the research before he/she can fully utilize the sacred Solfeggio Frequencies! We need to make this easy to explain so that divine frequencies can spread across the earth.

Thanks for reading this long and most likely nonsensical post. I felt that I needed more clarity and getting my thoughts written down has helped with this process. I can't wait for your encouragement, criticisms and guidance. Now is the time to spread our light and love and there is no vehicle which is more powerful than music to cohesively congregate the geometric harmony which permeates our universe.

Infinite Love and Light,
Ray Mack


[quote]
Posted By Blasterix on 11-17-2009 06:33 AM
I am an electronic music producer and I saw your video about the sacred frequencies and how to tune instruments into those frequencies with Michael Walton. I look into your site to and after I tried with Apple Logic, the sequencer that I use normally, to tune it with those frequencies.
I find few points in which I am not sure if I understood well your explanations.
1) to tune into 528 the C note (Do) it is necessary to master tune the keyboard at A=444Hz (+15%) and not as the Michael explaned in the video +12% or 443 that would give a C of 526.8 Hz
2) if you just master tune the keyboard either at +15% 444 Hz or as micheal said at +12% 443 Hz the other notes never will never fall into the others frequencies of the sacred cyrcle.
3) to be able to use all frequencies of the sacred cyrcle I tried to tune all the note of the keyboard different:
F +5% = 174.1 Hz (174)
D +51% = 285.1 Hz (285)
G +18% = 396.1 Hz (396)
G# +7% = 417.1 Hz (417)
C +15% = 527.9 Hz (528)
D# +46% = 638.8 Hz (639)
F# + 3% = 741.1 Hz (741)
A - 56% = 852.1 Hz (852)
B - 44% = 962.9 Hz (963)
This allowed you to use all the frequencies together when you are playing but it is very complicate and only the Logic audio instruments will work.
I have an Access Virus TI Synth and only the master tune function is available and not the tuning of all the notes.
Did I do something wrong or missunderstood the instruction?
[/quote]
You are not authorized to post a reply.
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