99.74.1 The Khufu Pyramid Stone Quartz Frequencies (MetPhys) 

Page 74

Sections List- 99 Electrons and Mythologies
Impossible Correspondence Index

From: MetPhys@aol.com
To: susoni@msn.com, secretone144@hotmail.com, luigi.di-martino@ntlworld.com, Dee777, JerryIuliano, josepht@tri-county.main.nc.us, Wdestiny44
Subject: The Khufu Pyramid Stone Quartz Frequencies
Date: 01/06/03

The Khufu Pyramid Stone Quartz Frequencies

Hello everyone,

I just finished this file which is a simple comparison of the frequency of quartz, as discovered in 1920 as being of a certain resonant frequency, compared to the frequency list and the effects of those frequencies.

Hope you enjoy discovering just what might have been and what may still be happening inside the Khufu Pyramid.



99.74.2 The Khufu Pyramid Stone Quartz Frequencies (secretone144)  

From: secretone144@hotmail.com
To: MetPhys@aol.com
Subject: The Khufu Pyramid Stone Quartz Frequencies
Date: 01/07/03

hi met, thanks for the link on the pyramid freq. this goes fairly well with cousto's sun freq of 32,313.52 too.

also the F# is of course a P4th (See explanation) from the C#/Db freq he proposes as the earth year tone.

also i have a very old tibetan meditation bowl which is tuned to this F#-C# 'pivot'.

i always wondered whether the pyramid wasn't a 'consciousness expanding device', 'healing machine', or even a 'teleportation' type thing.

i have read dunns book where he suggests ulta-sonic drilling because of the way the quartz is cut relative to the surrounding granite, 'sounded' interesting (pun intended) ; ).

i am still making my way through the planet music stuff, reading luigi's book, which he was kind enough to send me as i couldn't seem to access it from your site and unfortunately really scuffling here to keep my head above the water line in regards to just 'living' ($) so, i've been 'slowed down' somewhat in organizing and contributing back some 'sharing', but i will as soon as things clear a little.

i hope you're well.

peace tc

(Note: P4th = Perfect 4th interval, the inverse of the Perfect 5th in the cycle (or scale/chord, however you wish to name it, because it is a cycle and a scale and a chord; these are really all the same thing in the final analysis) of 5th/4th intervals, which encompass (revolvearound/through) the the twelve tone resonances in music.

these could be looked at diatonically within modes so as to limit the modulation within range or key, or as 'pure' tones able to take on any 'flavor' or 'color' basically any 'function' within the context of a 'piece' of music or sound event from one 'moment' to the next etc.

so to say the F#/C# 'fulcrum' i meant one of 12 'pivots' which consist of two tones at a P5th/P4th interval from one another: from F# to C# is a perfect 5th, from C# to F# its a perfect 4th interval.

there are 12 such relationship fulcrums in the P5th/P4th 'cycle'.

which in its non-tempered form i would feel is most assuredly a big 'part' of the torus phi spiral of sound.

the other being in my feeling the overtone series.

does this answer your question?)

peace tc


99.74.3 More on the Phi Based Solar System (MetPhys) 

From: MetPhys@aol.com
To: secretone144@hotmail.com
Subject: More on the Phi Based Solar System
Date: 01/07/03


" Our solar system also makes a "register shift." It has long been noted that the inner planets (Mercury, Venus, Earth, and Mars) all share such common features as relatively small size, solid silico-metallic surface, few moons, and no rings. The outer planets (Jupiter, Saturn, Uranus, and Neptune) share a second, contrasting set of characteristics: large size, gaseous composition, many moons, and rings. The dividing-point between these two sharply contrasting "registers" is the asteroid belt, a ring-like system of tens of thousands of fragmentary bodies believed to have arisen from an exploded planet.

It is easy to verify that the solar-system register shift falls exactly in the same, geometric-mean position, as the shift of the soprano voice in the proper C=256 tuning. If we begin at the outer layer of the sun, and construct a self-similar (logarithmic) spiral making exactly one rotation in passing from that layer to the orbit of the innermost planet, Mercury, then the continuation of that spiral will make exactly one full cycle in passing from Mercury to the region defined by the overlapping orbits of Neptune and Pluto (see Figure 11). The halfway or geometric-mean point comes exactly at the outer boundary of the asteroid belt. More precisely, if we compare the planetary spiral with our simple spiral derivation of the equal-tempered system, letting the interval from Mercury to Neptune-Pluto correspond to the octave C-C, then the planetary orbits correspond exactly in angular displacements to the principal steps of the scale. The asteroid belt occupies exactly the angular position corresponding to the interval between F and F-sharp; this region is where the soprano makes the register-shift, in C=256 tuning. Thus, complete coherence obtains, with this tuning, between the human voice, the solar system, the musical system, and the synthetic geometry of conical spiral action. "



99.74.4 More on the Phi Based Solar System (secretone144) 

From: secretone144@hotmail.com
To: MetPhys@aol.com
Subject: More on the Phi Based Solar System
Date: 01/08/03

The Alignment (JPG)

nice met, the F# '1/2 flat' note is another very important 'mysterious' tone in the arabic/turkish system.

this note figures prominently when playing on the large '(A)' ney flute, which is called the mansur ney, which means 'Man ney'.

i think these tones which are close to 'blue' notes in 'resonance area', are 'gateways' for the tremendous 'power' of the 'ether', zero-point, chi, however you'd like to name it to flow 'in and out' of 'creation' or maybe just our 3-d 'world'. it basically comes down to the 'resonance' area within a Major 3rd/b6th, this is the 'heart', i would bet my life on it (i think there's a pun in there or something ; ) ).

so think of a major third interval, then take the 3rd and 1/2 flat the note. in C this would be E 1/2 flat, or the place between E and Eb, now if you're turkish you would tend to place it closer to the E and if arabic you would place it closer to the Eb, if you were playing blues say a mixolydian blues in C, you would play a slur most likely from the F down through the E and Eb to the C, also if you modulated to F as the root (a P4th interval) you would have another 1/2 flat/blue 'area' which would be the Major/minor 7th intervals; the 'same' intervals, but recontexualized by a moving reference, which shows the cycle of P5th/P4ths in it's movements 'direction' by implication, showing one of the 'pivots' i mentioned in my other email. luigi's mirroring shows that this process has an inverse too.

as above so below and all that.

so for the F# 1/2 flat (the note between F# and F)= here the asteroid belt, the corresponding root would be D and the P5th of that is an A, hence the 'Man' ney. the other big 1/2 flat note here would be B 1/2 flat.

now how this reconciles with the other theories i'm not exactly sure, except that the F# is also the b5th of C and these two scales C major and F# major are connect interestingly by two note F and B (see attached jpg) which in C are the P4th (Perfect 4th) interval and the Major 7th, and exactly the opposite function in the F# Major, i pointed this 'switching' out to luigi much to his delight, we've had some good exchanges on this.

also the E, major 3rd of C (so we could make that the 1/2 flat note as above) is the minor 7th interval of F# so that takes us right into that same 'area' from another perspective.

i think the b5 shows the reversal, the 'return' and the M3/b6 is the 'breathe' of the 'life' of the process.

peace tc


99.74.5 Greek Interpretations of The Mode Box (Luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Greek Interpretations of The Mode Box
Date: 01/10/03

The Seven Harmoniai

From MetPhys: Luigi, does this looks looks like the Greek version of the Mode Box?

Hi Met

From Luigi: I was sent this link a few months ago by someone at the Chaldean Magi forum. It is really the well known and traditional side of the Mode Box. It is all nice and confusing too, especially for lay persons trying to come to terms with the modal jargon employed. In medieval times the names of the modes were altered, and I'm sure a good historian could even tell us why. Also the Greeks reckoned the scales according to Tetrachords and in descending orders. Nevertheless there is no mirroring as according to the complete mode box.

The modes have been mirrored in the past but no actual structure behind the mirror itself was ever taken up as a possibility, especially the peculiarity of the F# (2nd Invisible axis) connection. Composers and theorists called it "retrograde" and someone once pointed me to a good book by Vincent Persichetti called "20th century Harmony" , that plotted the modes and their mirrors in musical notation form, and this was why the "hidden" structure was not spotted, because the notes need to be written down as letters and boxed up in order to see any 45 degree angle involvement etc. I am sure I would have found this same info on the web by now so I am getting more convinced that composers and theorists concentrated only on some musical exercise or two when it came to mirroring in general. At the beginning of the century the way retrograde was viewed was as a system where the left hand, for example, would mirror the right hand in intervalic terms, and both sides of the mirror would be played together producing a most "crappy" and discordant sound most of the time, which is why it never really took off. When I discovered the phenomena for myself I viewed the left hand side of the mode box as a female personality, for example, meeting a male personality at an axis, and bringing with them their separate gifts (intervals and triads). So I have always played the tunes that come up either side of the mirror separately and rarely together.

The Lambdoma in fact is a closer representation to a Mode Box, but in harmonics terms.

The diagram at the site mentioned below is interesting because it relates Libra and Aries as kinda axis points, and these are at the Dorian position within that system. The way the mode box shows it is that Dorian (todays Dorian) holds the doorway to the visible axis, F to B tri-tone. Whereas the Ionian mode (todays Ionian) holds the key to the invisible , C to F# tri-tone. In Dorian the invisible link is the note G#/Ab, which can be seen as the perimeter of the musical major/minor key system, with D in the center. This is justified by the fact that it is the visible creation we see. Whereas at F# the duality of musical relationships come to be from an invisible (non-participatory) axis point.



99.74.6 Binary Solar System from F# Asteroid Belt (MetPhys) 

From: MetPhys@aol.com
To: susoni@msn.com, secretone144@hotmail.com, christian.lange2@tin.it, luigi.di-martino@ntlworld.com, Dee777, JerryIuliano, Wdestiny44
Subject: Binary Solar System from F# Asteroid Belt
Date: 01/10/03

Spira Solaris Archytas-Mirabilis Part IV

Hello Everyone,

I'm just trying to order the solar system...no big problem.....hehe

Just underneath Figure 6b The Equiangular Period Spiral we find this:

" For the outer planets the latter parameters pertain to the inner regions of the spiral while the reverse holds for the inner planets. "


" Lastly, although no planet per se exists in the position that corresponds to a period of Phi 3 (from a modern viewpoint this region is represented by the Mar-Jupiter Gap, or loosely the Asteroid Belt) the corresponding mean distance in the Phi-series planetary framework is now the fundamental constant Phi 2. Furthermore, the same fundamental constant is also the inverse velocity (Vi) of the Jupiter -Saturn synodic cycle, which (as will also be seen in later sections) again turns out to be of some importance. "

In addition,

" The Rotation of the Elements by John Opsopaus 31):

83. The Circulation of the Elements is performed by a double Whorl, by the greater or extended, and the less or contracted. The Whorl extended fixeth all the Elements of the Earth, and its circle is not finished unless the work of Sulfur be perfected. The revolution of the minor Whorl is terminated by the extraction and preparation of every Element. Now in this Whorl there are three Circles placed, which always and variously move the Matter, by an Erratic and Intricate Motion, and do often (seven times at least) drive about every Element, in order succeeding one another, and so agreeable, that if one shall be wanting the labour of the rest is made void. These Circulations are Nature's Instruments, whereby the Elements are prepared.


Spira Solaris Archytas- Forth Planet and Fifth Element

" we can see that the stated construction is undoubtedly applicable to the Phi-Series planetary framework throughout, e.g., taking the corresponding four phi-series periods: [ 1, 1.61800989, 2.618033989, 4.236067978 ], 1 is to 1.61800989 as 1.61800989 is to 2.61800989, as 2.61800989 is to 4.236067978, whereas the increment and the fundamental constant by which the planetary periods (planets and synodics) increase is Phi itself. Or putting it another way, the division of a line into the Golden Section, i.e., into two unequal parts, such that the relationship between the smaller part to the larger part is the same as the relationship between the larger part and the whole can be repeated indefinitely with a sliding middle component which always maintains the same relationship to either extremity. "

Remembering that the Asteroid Belt represents "period Phi ^3" according to the Author, in this Phi based Planetary Orbital Scheme, moreover "the corresponding mean distance in the Phi-series planetary framework is now the fundamental constant Phi 2" and that the Asteroid Belt also represents the "register shift" of F# (Schillinger), I'm beginning to sense that the planets are divided into 2 groups: One group, an Alchemically contracting, dry, inner group and an expanding, wet, outer group, with the Asteroid Belt representing a median or F# fountain between these two groups, as musically described by Luigi Di-Martino.

Do you see it this way or do you have more to add?



99.74.7 Binary Solar System from F# Asteroid Belt (Luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Binary Solar System from F# Asteroid Belt 
Date: 01/10/03

Great read so far. Found this really cool poem on another page there:

Where the Paternal Monad is.
The Monad is enlarged, which generates Two.
For the Dyad sits by him, and glitters with Intellectual Sections.
And to govern all things, and to Order all things not Ordered.
For in the whole World shineth the Triad, over which the Monad Rules.
This Order is the beginning of all Section.
For the Mind of the Father said, that all things can be cut into three,
Governing all things by mind.
And there appeared in it (the Triad) Virtue and Wisdom.
And Multiscient Verity.
This way floweth the Shape of the Triad, being pr¾-existent.
Not the first (essence) but where they are measured.
For thou must conceive that all things serve three principles.
The first course is Sacred, but in the middle.
Another the third, ¾rial; which cherished the Earth in Fire.
And fountain of Fountains, and of all Fountains.
The Matrix containing all things.
Thence abundantly springs forth the Generation of multi various Matter.
Thence extracted a prester the flower of glowing Fire,
Flashing into the cavities of the World: for all things from thence.
Begin to extend downwards their admirable Beams.

Here is another angle on the poem , as seen by this diagram. It is fairly simple to see how vibrations proceed in shades of light and dark from the centre of every formula. S= Semitone, T = Tone

Axis Fountains at F# (JPG)


From left to right this formula is that of the Locrian Mode ( darkest scale). From right to left it spells the Lydian Mode (the Locrian's mirror partner, major/minor or male/female, being the brightest mode of the major scale). From the centre , where the two tetrachords are joined springs forth the next two shades of light/dark. The central S begins the next cycle.


From left to right is the second darkest mode emerges, the Phrygian. And from right to left the second brightest emerges, the Ionian. This is what the diagram is showing, and F# must be a Dorian intersection within the mode box, and be the hidden aspect of the triangle, that of E Major, where F# is its Dorian mode. Sorry, too musical as usual! yet musically speaking at least there is no actual conflict with that rather nice poem.



99.74.8 Living cells put to music (Luigi) 

From: luigi.di-martino@ntlworld.com
To: MetPhys@aol.com
Subject: Living cells put to music 
Date: 01/12/03

Hi Met

Just been surfing away today, and came across this rather interesting project:

Living Melodies

I've hit on the idea that I could mirror this music that is being generated and it may be a representation of mirror biological life!! If that doesn't make sense at the moment, see if you can read the abstract here and listen to some of the music. Sounds interesting anyway!



99.74.9 Welcome, Joe DeBrouse! (MetPhys) 

From: MetPhys@aol.com
To: healthnow@bodyvibes.com, susoni@msn.com, secretone144@hotmail.com, christian.lange2@tin.it, luigi.di-martino@ntlworld.com, Dee777, JerryIuliano, josepht@tri-county.main.nc.us, Wdestiny44, Code UFO
Subject: Welcome, Joe DeBrouse!
Date: 01/13/03

In a message dated 1/13/3 5:36:28 AM, healthnow@bodyvibes.com writes:

<< When you have a spare moment or two, take a peak at my website. I recently linked to your articles, very fascinating, the 9s are all there, WOW! Joe DeBrouse >>

Hello Sir,

I've read your site already except for a few external links. I recognized your intelligence immediately and we study the very same subjects.

Several posters send intelligent email, including Jerry, bless all of these brilliant people.
The Section List has all the previous subjects discussed.
You are invited to add to any subject or ask about any subject to further your knowledge but give me a chance to record it on this site so everyone can have a look? Thank you. The emails of all posters are current and working so you might want to save them as you need them.

Please make all emails concise and clear enough so our readers who are not aware of your knowledge, knows just what you are speaking about. And please feel free to include addresses for your Rife Device if you wish. I always like to advertise about devices that work.

Impossible Correspondence


Hello Robert,

Yes, I am quite intrigued by your knowledge and wonderful website. I have been involved in Music and Sciences all of my life, most self taught. I recently sent the enclosed Email to Jerry, not sure if you are referring to that communication... I have invented a health device, at least in part. By that I mean much information is funneled to me from, well, not sure where as yet, but #s don't lie. I know there is a reason for this all to come about, even this Email... 864 Hz is a constant with my right ear, most recent 1024 has accompanied simultaneously (minor 3rd). I feel we are in for some major event soon, as the indicators are on the up swing, at least for me. The 4 As on the Hendaye cross, I feel are significant as relates to Pythagorean tuning.

I am privileged to hear from you, and would consider it an honor to collaborate.
What follows is my Email to Jerry, in case you have not read it.

My best to you.
Joe DeBrouse

PH: (540) 967-9939
Fax:(540) 967-5262
Email: healthnow@bodyvibes.com
Website: http://www.bodyvibes.com
Cancer Remissions: http://www.bodyvibes.com/canrem2.htm

Hi Jerry,

I recently found your articles through my own research and felt compelled to share my findings and experiences, as they are very congruent with your mathematics.

A little background: At present, I am the inventor of an innovative medical device, extrapolated from Royal Rife's early works. Get to that later. My interest was originally sparked from my musical talents, playing several instruments and writing/recording.

As I became more involved in the health field of Electromagnetic Therapy, I quickly discovered the harmonic relationship amongst the different pathogens. Some were 5ths-octaves and decimal harmonics as well, etc..

My invention entails the recording of pathogen specific frequencies on a CD medium, feeding through a primary/secondary coil, then amplified, whereby leads are affixed to the patient. EM and scalar waves/neg-entropy are the result.

The most compelling aspect that I must relay to you is that ALL MY LIFE I HAVE HAD AN OBSESSION WITH THE # 9. Until recently, I had no idea why this was happening to me, especially as a child. Also as a child, I experienced OBEs on a daily basis, thought everyone was having them too. And the real oddity is I was constantly told, I guess telepathically, that I would be somehow involved in cancer research. And that's exactly what I am doing with my invention. I have medically documented cancer remissions resulting from a CD recording.

Now 53-

Now, it gets strange, but all is good. This past year, 2002 until the present day as we speak, paranormal experiences are occurring almost daily again and on the up-tick. My musical background lead me to research Pythagorean tuning which also included Sumerian tunings as well. D=144 (9) for symmetry. Then the tones reminiscing Spielberg's "Close Encounters of the Third Kind" came to me. The tones are significant. At least it kept pointing me to 9s. 324-E then 243-B then 162-E then 216-A all = 9. Very close to the tonal pattern used to summon/announce the Aliens Arrival! This scenario does not exist any more as the new standard tuning, since around 1800, was increased to 440-A. The previous tuning, as mentioned, was at 432-A, sound familiar???? Now get this: 1.618 X 544 (median DNA frequency) = 880, which again is standard pitch for A. How could that be, since at that time, 1800, who knew what the median DNA frequency was???

For the past 2.5 months, I have been getting frequencies in my right ear. I call it "audiopathic" ALL TUNED TO SUMERIAN/PYTHAGOREAN PITCH. Most occurring is 864. I know this sounds a bit far fetched, but who else can I tell but you and some close friends/relatives? Very significant are the tones: 611-727-815-970. 9s abound here, and the chord, though not standard by any means is 2 minor 3rds separated by a whole tone, sounds beautiful when play on a keyboard. What else can you do with these #s??? The actual notes are: D#-F#-G#-B, again, ALL PYTHAGOREAN TUNINGS. Go figure. These tones came to me in one hour and then it stopped. But the next day it started again and continues to this day, especially 864! Previously received: 363.3 F#, 324-E, 1088-C#, 512-C, 288-D, 432-A, 727-F#. All of these tones are tuned as previously mentioned. You are probably wondering how I can reference the tones to actual frequencies, right? I use a guitar that somehow, after 20 years, old strings have found their way to Pythagorean tuning, approx 1.79% below today's standard pitch. After I receive a tone in my right ear, I reference it on the guitar as a NOTE. I then use a frequency generator (1 of six that I also use to record therapeutic protocols) to match the note on my guitar. Every one has been of the Pythagorean tuning, they just keep repeating daily. Now I have been experimenting with frequencies for 7 years, especially the combining of those harmonically related. I also incorporate Phi ratios heterodyned in the mix. 108 and 864, 324 and 243, 216 and 162 are all very therapeutic when combined.

Recent paranormal events include UFO sighting, entities by my bedside, and in my family room, being held down in bed, jerked out of my truck while driving, lifted off the ground while jogging---all to return safely, but WOW! My 12 year-old daughter was also visited by an entity/spirit during her stay over. (lives with her mother). Others that are close to me are also experiencing events such as these. I welcome them, as they are validations of my intuitions and research.

I believe that we are in for some much needed drastic changes, I know that you concur, especially in the field of science or should I say pseudo-science.

When you have a spare moment or two, take a peak at my website. I recently linked to your articles, very fascinating, the 9s are all there, WOW!

Joe DeBrouse

PH: (540) 967-9939
Fax:(540) 967-5262
Email: healthnow@bodyvibes.com
Website: BodyVibes
Cancer Remissions: Rife


99.74.10 F# at 727 Hz (Joe De) 

From: healthnow@bodyvibes.com
To: MetPhys@aol.com
Subject: F# at 727 Hz
Date: 01/13/03

Hello ALL!

The F#, I certainly agree, is a very significant note/frequency. I especially can relate to my experience with Electromagnetic protocols applied for therapeutic purposes. The tuning, however is not of today's standard at 440 for A. It is of the Pythagorean tuning approx. 1.79% lower at 432 for A. So the F# I believe you are referring to is at 727, not today' s 739.9; Also, a mid- chakra placement resonant with the color green. This frequency, 727 Hz, is the most significant frequency in all anti-septic and disease related conditions, and is always included with all therapeutic applications. The 3rd harmonic at 2181 Hz, is a common cancer frequency, while octaves, decimal harmonics and sub-harmonics of 727 are also utilized.

So we can easily relate this to the cosmological/universal importance as well. When placed in a Triad as the major 3rd, the root becomes 576 (D) and the 5th at 864 (A) again, Pythagorean tuning. (256 C) Just a bit off subject and related to Phi: Have there been any articles/Emails due to the significance of 19.5 degrees X 2 = 39 degrees, and that relationship to the circumference of the earth in miles?


99.74.11 Welcome, Joe DeBrouse! (CodeUFO) 

From: CodeUFO@aol.com
To: healthnow@bodyvibes.com, susoni@msn.com, secretone144@hotmail.com, christian.lange2@tin.it, luigi.di-martino@ntlworld.com, Dee777, JerryIuliano, josepht@tri-county.main.nc.us, Wdestiny44
Subject: Welcome, Joe DeBrouse!
Date: 01/13/03

In a message dated 1/12/03 10:14:40 PM, MetPhys writes:

<< In a message dated 1/13/3 5:36:28 AM, healthnow@bodyvibes.com writes:

<< When you have a spare moment or two, take a peak at my website. I recently linked to your articles, very fascinating, the 9s are all there, WOW! Joe DeBrouse >>

Hi Joe,

Welcome aboard! I browsed through your web site and found it very interesting. The paper on the cross monument especially interested me. I'm guessing you must already have visited my web site, Synchroni-City, since I see you borrowed that graphic of the Phi spiral with the "9" shape comparison. Or it's possible, I suppose, you may have gotten it from some other site which may have borrowed it from mine. Anyway, just in case you haven't seen my work (what I call "CryptoNumerology") you can visit the site at


I've recognized, as you have, the apparent importance of the value of 9. It's quite an intriguing little mystery, isn't it?

You wrote (in your email to Jerry):

<< The tones are significant. At least it kept pointing me to 9s. 324-E then 243-B then 162-E then 216-A all = 9. >>

Below are some related alphanumerics. As always, my disclaimer is that I have no idea if any of this is truly "meaningful" or if it's all just bizarre coincidence. I only present it as information to be used or discarded as seen fit.

171 + 117 = 288 = 144 x 2

207 + 171 + 117 = 495

You wrote:

<< For the past 2.5 months, I have been getting frequencies in my right ear. I call it "audiopathic" ALL TUNED TO SUMERIAN/PYTHAGOREAN PITCH. Most occurring is 864. >>

162 / 3 = 54 = TONE = BREATH = SUN

Then of course, 54 x 3 = 162
In other words, THE THREE TONES, and TONE+TONE+TONE each equal 162. Very "self referential". And 162 is a c.p.s. of "E" on the Furia Music Wheel.

864 / 3 = 288 = 144 x 2, or what is known as the double light number.

2304 is the cycles-per-second (cps) of the note "D" on the Furia Music Wheel.
234 is the mirror image of 432. (432 c.p.s. is the note "A" on the Furia Music Wheel)

234+432 = 666, the number of the Beast in Revelation 13:18.

So far we have seen three musical tones implied: E, D, and A. Interestingly, the note "A"is only evident if we recognize the reversal of 234. We could surmise from this that E and D are the two key tones . This would make sense in terms of the alphanumeric clues because...

54 is a c.p.s of the note "A" on Jimi Furia's Music Wheel.

Could this mean E, D and A are "THE THREE TONES"?

Using 54 c.p.s. as our "A" and drawing a line straight across the Wheel we connect with D# at 612c.p.s.
54 + 612 = 666

There are 21600 minutes of arc in 360 degrees.
Two times 216 is numerically equal to the square of the speed of light in miles per second. That is, 2x216=432 (mirror of 234) = sq.rt. of 186,624 (0.18% error).

126+54=180 (half 360)

Cathie Light Speed: 162,000 and 144,000
126 + 162 = 288 (classic "double light" gematria)
288 / 2 = 144 (allegedly the Druidic number for "light")

144 + 126 = 270 = the sum of the AlphaNumeric Values of the names of the three pyramids, also the sum of the ANVs of NORTH+SOUTH+EAST+WEST.

234/12 = 19.5 (Re: Hoagland's tetrahedral geometry)



THE THREE TONES = 162 (mirror of 261)

162 is the note, E, on Jimi Furia's Music Wheel.

162 / 3 = 54 = TONE!!!

126 + 54 = 180, half of 360

Here's some data based on Jimi's Wheel. Just some more stuff to tuck away for some rainy day crunching:

Clockwise around the Wheel:
(There are only 3 notes... (THE THREE TONES=162) ...which consistently generate a CPS (Cycles Per Second) which is reducable to 9. They are A, D, E.

The cps of the note "A", in each position, divided by 3:
432 / 3 = 144 cps = D
864 / 3 = 288 cps = D
1728 / 3 = 576 cps = D
3456 / 3 = 1152 cps = D
54 / 3 = 18 cps = D?
108 / 3 = 36 cps = D?
216 / 3 = 72 cps = D

The cps of the note "D", in each position, divided by 3:
576 / 3 = 192 cps = G
1152 / 3 = 384 cps = G
2304 / 3 = 768 cps = G
4608 / 3 = 1536 cps = G
72 / 3 = 24 cps = G?
144 / 3 = 48 cps = G
288 / 3 = 96 cps = G

The cps of the note "E", in each position, divided by 3:
468 / 3 = 216 cps = A
1296 / 3 = 432 cps = A
2592 / 3 = 864 cps = A
40.5 / 3 = 13.5 cps = A?
81 / 3 = 27 cps = A?
162 / 3 = 54 cps = A
324 / 3 = 108 cps = A


162 is the note, E, on Jimi's Wheel.

162 / 3 = 54 = TONE
126 + 54 = 180
Half a circle is 180 deg.

Half of 126 = 63 = YHVH (Y=25=7, H=8, V=22=4, H=8, sum of reduced values =27)
126 + 144 = 270

Half of 54 is 27 (harmonic 270)
CHEOPS (66) + CHEPHREN (77) + MYCERINUS (127) = 270
NORTH (75) + SOUTH (83) + EAST(45) + WEST(67) = 270

180 + 54 = 234 = THE GREAT PYRAMID OF GIZA, and the reverse of 432

432 + 234 = 666
432 - 234 = 198 = THE RESURRECTION ("Levitation"? The stone was "mysteriously" moved from the opening of the tomb!)

On Jimi's Music Wheel there are only 3 notes which consistently generate a CPS which is reducable to 9. They are A, D, E. This is 1, 4, 5. The intervals of a chord progression often known as the standard blues progression.

There is one other note, the 7th or G, which figures in nicely. It is the only one on the wheel which consistently generates a CPS reducable to either 6 or 3; it fluctuates around the wheel. Going clockwise, the sum of its CPS values are:

21(3), 15(6), 12(3), 12(3), 15(6), 12(3), 15(6). When the 7th note is applied to the "1-chord" in the 1, 4, 5 chord progression it is often referred to as a "transition" to the next chord, usually the "4-chord". It's a cool sound. It's always fascinated me how it somehow produces a sound which creates a feeling of anticipation in the listener. It's like teetering on the edge of a fence just before making it to the other side. In an "A" progression, adding the note "G" to the "A" chord provides the transition to "D".

Interestingly, the notes E,A,D,G are the names of the last 4 strings on a guitar.


The Sarsen Circle is composed of 30 uprights.
162/30 = 5.4, dec. harmonic of 54=TONE

Half of 54 is 27 = HALF

When the English alphabet is folded in half so that A meets Z, B meets Y, and so on... each of those 2-letter combinations equals 27.

Half of 27 is 13.5, decimal harmonic of 135

And this... Michael Morton wrote:

<< 270 / 15 = 18 .... the number whose SINE is precisely HALF the RECIPROCAL of The Golden Section ... SIN 18 = 0.309016994 = (1 / 1.618033989) / 2 = 0.618033989 / 2. >>

By the way, I like the idea of "A" at 432cps if for no other reason than the shape of "A" is like a pyramid. Pretty cool.



Halving Stonehenge:
1/3 = .3333333333
39 x 9 = 351 = sum of alphanumeric values of the 26 letters of the alphabet.

Michael wrote:

<< the SINE of the Tetrahedral Latitude (Hoagland) ... SIN 19.47122061 = 0.333333333 >>

Also note,
432 / 3 =144 = THE GOD OF ISRAEL and NINE IS THE KEY

Also, regarding 73 and 39:

22 is the number of letters in the Hebrew alphabet.

39.... (Note: 19.5 x 2 = 39)
26 is the number of letters in the English alphabet.

Regarding the number 432...

Here's the synch between 432 and 264....

The reduced ANV's of the alphaforms of the individual digits in 432 are the same three digits which comprise the number 264:

264 + 624 = 888 (Greek gematria for "He is the word" and "I am the Life")

More on 73...


(Note: 286-273=13, half of 26 = GOD, and the numbers of letters in English alphabet)


THE WORD=93=12= 3

"WORD" could be a metaphor for "SOUND".

IN THE BEGINNING WAS THE SOUND=286 which is the same as

YHVH = 63
TONE = 54

Well, that's all for now. It's late (or early!) and I gotta get some sleep. ;-) Looking forward to seeing more of your work. Oh, by the way, it was interesting to read about your "experiences". I'm curious about your UFO sighting if you'd care to talk about it. I saw one of those huge black triangle UFOs at close range back in '93. If you've been to my web site you know I also had what may have been a form of contact with ETs back in '67. I'm also curious about the "entities" you and your daughter have seen. Have you both seen the same entity or were they different? My lady friend's daughter frequently sees a dark hooded entity in her room at night. She's in her 20s now but it began several years ago. Her mom, Julie, has had strange experiences with owls, some white and others of the brown variety.



99.74.12 Welcome, Joe DeBrouse! (secret144) 

From: secretone144@hotmail.com
To: MetPhys@aol.com
Subject: Welcome, Joe DeBrouse!
Date: 01/14/03

hi met-

just wanted to welcome joe and say a few words on the 'number 9' as lennon would say : ), of which we all have an affinity with.

the 9th to me is so important simply (profoundly) because of its 'position' as the gateway out of the octave, also the 9th of the 9th is the same 'note' as the 3rd of the root of the 9th, just 2 octaves up. so there is a musically multi-dimensional aspect to the interval in terms of the 'crossroads' it creates.

C (9th D), E (9th of D, 3rd of C).

obviously in a non-tempered system this (2 octave up '9th') will be a slightly 'different' note then the 3rd and that difference to me shows the concept of volume, volume as in 'space', dimensional (3d,4d etc.), i'm feeling octaves don't just go 'up' and 'down', they 'expand'; 'more overtones', for me as a musician this means more 'superficial-dissonance' with means more possible harmonic possibilities, which means more inclusivity, knowledge of the 'other perspective' at this very moment; 'melody' and 'harmony' are relative 'at once' 'together' and in multi-dimensional perspectral musical interaction which is a spontaneous collective composition, the harmony is 'bigger' in 'volume' allowing for example a listener to hear many perspectives at once if they can get past their concepts of what true collective improvising is, usually this produces the initial 'shock' from a 'superficial' concept of harmony/dissonance and 'order' to a larger more encompassing 'listening/perceptual experience'. this 'perceptional fulcrum' if 'heard' correctly is only the 'overtone gateway' to the endless harmonic/melodic fabric that is being continuously 'created', hence 'moving', multi-dimensional, 'larger volume/space'; more beautifully encompassing in a resonant way; the music lies in the natural overtones brought about by a compassionate conviction for truth within communication which means being present at each 'moment' openly and 'ready' to 'be' for the 'other'. this is 'hearing the music for real'.

so the 9th shows movement beyond the octave and the direction that movement 'takes'. 'leaving' the octave can be a frightening experience in 'listening' and otherwise, or a very beautiful 'expansion' of the all within the all.

its the 1, M3rd, P5th, and M9th that show and fill out 'volume' for me in my musical ear and heart.

joe, your site looks very interesting, i hope to have some time to explore it in more depth. welcome to this amazing 'place' robert has created.

peace tc


99.74.13 Welcome, Joe DeBrouse! (Luigi) 

From: luigi.di-martino@ntlworld.com
To: healthnow@bodyvibes.com, susoni@msn.com, secretone144@hotmail.com, christian.lange2@tin.it, Dee777, JerryIuliano, josepht@tri-county.main.nc.us, MetPhys@aol.com, Wdestiny44, Code UFO
Subject: Welcome, Joe DeBrouse!
Date: 01/13/03

Hi Joe!! Welcome to the magic roundabout!! I be Dylan me reckons, and Mets is Zebadee!

Will spend this evening reading up on your site. Haven't had a chance to today, cause my belly hurts, but it's still early over here so plenty of time. The number 9 , yeah I have to second that (well I love mirroring personally!).


PS....lots of talk about three tones. One could include the word TRI-TONE to that, as it too signifies three tones and leads to the centre of the major and minor scales.


99.74.14 Search Engines, Impossible Correspondence / GridPoint (MetPhys) 

From: MetPhys@aol.com
To: healthnow@bodyvibes.com
Subject: Search Engines, Impossible Correspondence / GridPoint
Date: 01/13/03

In a message dated 1/13/3 12:58:06 PM, healthnow@bodyvibes.com writes:

<< Just a bit off subject and related to Phi: Have there been any articles/Emails due to the significance of 19.5 degrees X 2 = 39 degrees, and that relationship to the circumference of the earth in miles? >>

GridPoint of Michael L. Morton also has a Search Engine for the same purpose.

If you have trouble finding your answer please let me know and I'll see what I can do for you.



99.74.15 --19.5 x 2 = 39 / Earth Circumference =1.618? (MetPhys) 

From: MetPhys@aol.com
To: healthnow@bodyvibes.com
Subject: --19.5 x 2 = 39 / Earth Circumference =1.618?
Date: 01/14/03

To Joe,

I've included two email in one so I can understand what you are saying. You presented a formula that doubles 19.5 tet equaling 39 divided by earths circumference equals Phi or 1.618:

In a message dated Mon, Jan. 13, 2003, 7:53 PM, healthnow@bodyvibes.com writes:

<< What about dividing 39 degrees by the circumference of the earth, or a decimal harmonic at 24.1 =1.618. Also 24 semi-tones=2 octaves or 360 degrees of rotation. >>

In a message dated 1/13/3 10:06:53 PM, healthnow@bodyvibes.com writes:

<< Well I used 24.1 as a potential decimal harmonic. Now I may be off base here, but from my reading, the earth's circumference in miles at the equator is about 24,800 or there about. So I reduced it to approx 24.1. Now I am not adept at mathematical calculations as most of you are. But I thought this to be a close coincidence, you??? Then if you consider the earth moon disparity at 240,000 miles, another harmonic at 24....??? >>


If I may, you are substituting 24.1 for earth circumference, therefore

19.5 x 2 = 39 / 24.1 = 1.618 or Phi?
39 / 24.1 = 1.6182572614 sure enough.
24800 / 3.14159 = 7894.0918452 miles diameter earth
7894.0918452 / 2 = 3947.0459226 miles radius earth


From Jalison:

If earths radius is 3,700 miles (Jalison) then
Diameter is 7,400
C = Pi x D = 3.14159 x 7400
= 23,247 miles diameter for earth.
39 / 23.2 (rounded 23,247) = 1.6810344828

Tell me please,

Why is the tetrahedral latitude 19.5 doubled?
Why should 24,800 miles be the true earth circumference?
What can these relationships be used for in the future?

The question is, what is the true diameter and circumference for, I believe, an ever-expanding earth? Of course our measuring instruments are also ever-expanding with the 4th dimension so that is relative, but the question still remains for me.

I hope I understand what you're saying now,


99.74.16 --19.5 x 2 = 39 / Earth Circumference =1.618? (Joe De) 

From: healthnow@bodyvibes.com
To: MetPhys@aol.com
Subject: --19.5 x 2 = 39 / Earth Circumference =1.618?
Date: 01/14/03


Just trying to connect some dots that have been on my mind regarding the musical relationship to linear measurements, as do geometric figures as well, both in the micro and macrocosm.

In that: 5400 nautical miles equals the 90 degrees of latitude between the equator and the poles. (5400-decimal harmonic of A at 54 Hz-Pythagorean tuning).

Circumference of the earth is 21,600 nautical miles (decimal harmonic of A at 216 Hz-Pythagorean tuning)

In the microcosmic world regarding DNA: Each 360 degrees of rotation is equal to 34 angstroms while the width is 21 angstroms. 34/21= 1.619, rounded to 162 Hz- E-Pythagorean tuning. (Phi ratio)

When I referred to doubling 19.5 to 39, I envisioned an oscilloscope reading circling the earth at the equator, with the equator being the zero point between the positive and negative nodes of vibration. By that I mean, the amplitude would be equivalent to 19.5 volts positive (north) and 19.5 volts negative (south), giving 39-volt peak-to-peak amplitude for a particular waveform. Now we have a 360-degree oscilloscope screen.

If we refer to 21,600 nautical miles as a harmonic of 216 (A- Pythagorean tuning), then let's imagine the frequency of that waveform to be 216 Hz encompassing the earth at 39 volts peak to peak.

The correlation I'm proposing is this: Measured by spectrometer, the high end of DNA resonates at 554 Hz, or C#-- today's standard tuning. 216/39 = 5.538 or 5.54 - decimal harmonic of DNA at 554 Hz. In that the similarities regarding the dimensions of our DNA (length to width) are a Phi ratio (1.619). The earth's circumference may be changing, but 24.1 should be a close estimate. (39/24.1= 1.618) AND, When dividing those significant north/south latitude totals (39) by the linear width or (circumference- 21,600 nautical miles) OR (a decimal harmonic at 216), we get a decimal harmonic of our DNA frequency at 5.54. So that the length divided by the width in both scenarios yields significant relationships and ratios, do they not?


99.74.17 Joe DeBrouse, Briefing. (MetPhys) 

From: MetPhys@aol.com
To: healthnow@bodyvibes.com
Subject: Joe DeBrouse, Briefing.
Date: 01/14/03


After you get a dose of Gary's Alphanumerics ( CodeUFO ) and the numeric meanings of your frequency numbers, you might want to study what Luigi Di-Martino calls the Mode Box ( luigi.di-martino@ntlworld.com ) which is the study of the music of the other side of this side. In other words, if you create a forward scalar, you may be interested in knowing how the reverse scalar is created musically, so that your machine produces both a forward and reverse spiral of frequencies. When frequencies are canceled in this way, it generates a scalar, as far as I know. It seems to be the reverse of producing scalar by hetrodyning. Is this correct?

Any common list of these Modes do not include the other sides mirror world that Luigi is developing.

I made a correction to the Mode Box, in the course of the conversations, placing the Dorian exactly in the middle of the 7 Modes, which was approved by Luigi and with this change, together, we have tried to map this mirror music to atomics, ellipses, light, the Mayan Tzolkin, the I-Ching, the Khufu pyramid, the torus and more and it all seems to fit well so far, by accepting the premise that the Word of God means the Tone of God, making the universe a plenum of tones and any machine that mimics those universal tones, operates exactly like the universe, especially a machine that uses the hetrodyned phi series and moreover, especially if those hetrodyned phi series are mirror reversed against the forward part.



99.74.18 --19.5 x 2 = 39 / Earth Circumference =1.618? (MetPhys) 

From: MetPhys@aol.com
To: healthnow@bodyvibes.com
Subject: --19.5 x 2 = 39 / Earth Circumference =1.618?
Date: 01/14/03

In a message dated 1/14/3 7:35:41 AM, healthnow@bodyvibes.com writes:

<< When dividing those significant north/south latitude totals (39) by the linear width or (circumference- 21,600 nautical miles) OR (a decimal harmonic at 216), we get a decimal harmonic of our DNA frequency at 5.54. So that the length divided by the width in both scenarios yields significant relationships and ratios, do they not? >>


For now, I can only say that, according to your calculations, they do. Can you go on with your proposal while I read it several times and try to inspire myself to ask a few intelligent questions?



99.74.19 Joe DeBrouse, Bi-phase waves (Joe De) 

From: healthnow@bodyvibes.com
To: MetPhys@aol.com
Subject: Joe DeBrouse, Bi-phase waves
Date: 01/14/03

Perhaps the combining of frequencies with particular ratios and sub harmonics (by 5 Xs and more) to the relationship of the coils (primary/secondary) they traverse and their particular ratio (1000 to 1) coupled by the signals processing during the actual recording of the frequencies and their respective duty cycles. A myriad of effects are noted on the scope's final output... As frequencies of different lengths travel at different rates through coils. A bi-phase EM wave is also incorporated in the mix with a jumper lead ahead of the coils. Phi ratios, at least 3, are utilized in all aggressive protocols.

Please post whatever you feel is viable, just brainstorming here... Technician I am not, just a dreamer.


99.74.20 Joe DeBrouse, Questions (Joe De) 

From: healthnow@bodyvibes.com
To: MetPhys@aol.com
Subject: Joe DeBrouse, Questions
Date: 01/15/03

Are you using a Chua oscillator?


Are you using what is known as a bifilar winding on toroidal coils?


Are any of your machines using a form of Bearden's interferonomy for deep penetrating scalar?

The magic is not so much the machine, hence the recording dynamics as related to the machine. Waves have been measured in vivo via sensing probe to insure penetration over 10 MHz, regardless of electrode placement. However, scalar point placement of RED armband is a non contact event (no metal contact with skin---electrode is sewn into armband, passive), whereby only one metal surface BLACK electrode touches skin surface using contact gel. Completely non-linear.

Are any of your machines simply using sum-difference phi harmonic heterodyning?

Again. not in the machine, changing Phi ratios that suit particular protocols during recording process. Beats can be created that mirror specific fundamentals or harmonics. hence the musician in me...

Are the coils set for PPCM?

Not sure what this is.

Do you have a copyrighted circuit diagram you can provide?

No (Note: From what Joe says, he uses a toroidal coil wound with bifilar windings. He also indicates that within the box-like unit is a re-processing and amplification system and the recording dynamics are not so much in the machine, i.e., the Body Vibes box-like unit, but are on the CD that connects to the box-like unit.)

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