Pyramids as Resonant Sound Chambers

I haven't written in over two months. I have spent the majority of my time very close to my mother who is in the last days of her life. The rest of my life has been pretty much on hold.  However my brother sent me a fascinating article about the theory that the pyramids were actually built as giant sound chambers. I have been aware of this for a long time- also the theory that sound was actually used to move the stones that were used in the building of the pyramids. That being said, in the interest of furthering the knowledge of the amazing potential of sound and the awareness of the possibilities of its use- past, present and future- I am posting this article.

Richard Hoagland is a fascinating guy.  I had his film on the Face on Mars and watched it several times almost 20 years ago but my boys were all teenagers at the the time and recorded over the video! Eventually I will have time to sit down again and write more of my own words but in the meantime there is lots of interesting information that I can share with a simple link or insert! Enjoy...

source: The Hieronimus & Co.
Newsletter #15-16

Filmmaker Boris Said and Researcher Richard Hoagland Agree and Disagree
Both Richard Hoagland and Boris Said are vocal about their suspicions that others in their field of interest -- Egypt -- are hiding what they know or have discovered, and for a variety of reasons. Boris does not conclude the cover-up is a conspiracy, but believes instead the Egyptians are most interested in the new discoveries being made by Egyptians and any delay would be caused by pride.
Richard, on the other hand, is convinced that certain officials in charge of granting permits for excavation and study and releasing information on discoveries are deliberately hiding or blocking some of the most extraordinary possibilities. They joined Dr. Bob Hieronimus together on March 8, 1998 to discuss both the areas upon which they agreed and where they disagreed.

Richard Hoagland is a former science consultant to Walter Cronkite, CBS News, CNN and NASA, and an advocate of the artificial creation theory for the anomalous Face and "pyramids" Mars. In August of 1993 he received the Angstrom Foundation Medal for Excellence in Science. His Mars anomalies research led him to the study of the ancient mysteries in Egypt when he noticed the striking similarities between the Face on Mars and The Sphinx. He says there is "a real set of connections that we now can prove connects this extraordinary complex on Mars at Cydonia with an equally extraordinary complex on Earth at Giza."

Boris Said has a very unusual biography beginning with an education at Princeton University and a fluent knowledge of several languages including Russian, French, Italian, Spanish and English. From 1953-1980 Boris was a sportsman and attained several automobile racing speed records. He was a member of the U.S. Olympic Bobsled Team in 1968 and 1972, and in 1980 Said began the transition to film work as he both drove the four-man bobsled at the Lake Placid Olympics and worked on TV interviews for ABC.
Since 1983 his credits have included writing, producing and directing documentaries on bobsledding, dolphins, a Zulu witch doctor, and other varied topics. The 1994 NBC TV feature documentary that he produced with John Anthony West, "The Mysteries of the Sphinx" hosted by Charlton Heston, was awarded an Emmy.

Boris first learned about the mysteries surrounding the monuments in Egypt and the questions about their origins from John Anthony West, when in 1990 West asked him to help make this documentary. West was working with Boston University geologist Dr. Robert Schoch whose ground breaking work indicates that the age of the Sphinx is thousands of years older than the Egyptian civilization itself.
"I came to it with no opinions whatsoever," says Boris, regarding the controversial debates on the new findings.

"I mean, I didn't know. I had just about figured that Egypt was spelled with a "y" and Sphinx was spelled with an "i", and I had those backwards for a while.... I listened to Robert Schoch the first trip explain why the Sphinx was older than 4-5000 years, and it just made perfect sense to me, I mean, nothing could have been more obvious. The marks were there, it was in the stone, and so I got interested right from the start in... an alternative viewpoint to the age, and perhaps the meaning, of those monuments."
In his bio, Boris states his life goal is to prove the existence of ancient, highly advanced civilizations on our planet, perhaps our true ancestors. It's a new life goal for him, he says.
"My life's goal used to be to go faster than anybody else, but now I'm doing something a little headier, and it came from my initial exposure to Egypt, and I've got to thank John Anthony West for that."

To this eternal question, Boris says,
"they were Egyptians, they lived in Egypt. I mean... we've called them variously "Atlantians" and, I suppose, "Little Green Man from Mars", but that was Egypt, and so therefore, to me, they're Egyptians."
He says there is no way the pyramids were intended to be tombs for Pharaohs.
"They've never found bodies in them. There's no single mark that identifies the pyramids as the tomb of any particular Pharaoh and, to the extent that in some of the pyramids bodies were later found, I think these structures were probably used as tombs by people who came later. I think that whoever created these structures used something that we don't know [about]."
Robert Bauval revealed how, at the dawning of the Age of Leo, the air shafts in the Great Pyramid point directly to the stars of Orion. Boris continued to point out how the Sphinx looks like a lion, "its got to give you some indication that the people back then knew something we don't know."

Richard adds that we are the descendants of these architects of the Egyptian monuments, whoever they were. He notes that when he first began his research into the Face on Mars in 1983, he remembers the almost unanimous reaction of archeologists when they were shown unidentified pictures of the Martian anomalies.
"The answers ranged from Hanuman, the Indian monkey god, to an aerial view of some pyramid complex in Egypt.. Initially looking at these things, I was thinking in terms of aliens, in terms of other, in terms of visitors to the solar system who had erected a stunning artificial complex on Mars.... Over the ensuing 15 years... my thinking has come perhaps 180� and in good measure because of... John West, Graham Hancock and Robert Bauval."
Richard began wondering about the possibilities that the anomalies an Mars perhaps could indeed be related to the monuments in Egypt.
"Which really got me to thinking," he said. "If this stuff on Mars was not alien, if it wasn't somebody else, somebody from way out there, then the comparisons between the architecture we find at Cydonia on Mars and the ancient enigmatic architecture, bits and pieces of which we have found now all around this planet, maybe make the case for a previous high civilization epic on planet Earth, in which case we could be looking at our stuff, the human race. So I think Boris is very perceptive when he says, ultimately, it's Egyptians that did what we see in Egypt. The only question is, how ancient, ancient, ancient were those Egyptians?"

Richard says to answer that, one has to examine what the pyramid complex in Egypt was used for,
"By tracking the numbers, the geometry, the specific angles, the relationship of these things to each other, and their relationship to the sitting of the things here on Earth, particularly the Giza Plateau, we have gotten on the trail of what I call, an old/new physics, which we term hyperdimensional physics. It turns out its the same physics that physicists like Maxwell and others in England were attempting to launch about 100 years ago.

The numbers at Cydonia, the numbers on Mars, the numbers at Giza, the numbers of many ancient sacred sites all over this planet, are the same numbers that Maxwell and Kelvin and those colleagues back in England 100 years ago were deriving as the basis of the physics of the 19th and 20th century.... The usage of the pyramid complex at Giza appears to have been in service to this physics. These were not tombs, not temples, but potentially, machines, huge machines built of limestone as the working substance, the working material, at a specific site on a rotating planet, such as Cydonia is on a rotating Mars."
The positioning of the structures was of the utmost importance, having to consider the physics and the interaction of the "pyramid machines" with the planet itself when they were turned on. According to Hoagland, this is all part of
 "a technology which we are just beginning to glimpse again, incredibly ancient, incredibly sophisticated, incredibly arcane. We can only now see the empty shells of what might have been a functioning complex whose purpose we are also just beginning to dimly grasp. But it was light years beyond providing tombs for some egocentric Pharaoh."
Boris Said agrees, saying,
"It's very difficult to find fault with Richard's logic," noting that Bauval's concept suggests the pyramids were placed in a position representing the stars of the Orion constellation. Boris is now working with Tom Danley, sonics expert and consultant to NASA, to explore the air shafts leading down into the King's and Queen's chambers, "which have been described by Bauval as lining up with the stars of Orion. Quite recently a fellow named Gantenbrink sent a robotic camera up the end of one of those shafts and he found a door with hinges and apparently some space underneath it. What we've been doing is, we've been approaching this problem from a completely different scientific viewpoint.

We've been testing the sonics of the Great Pyramid. We've known for a long time that if you lie in what they call the sarcophagus, which is that stone box in the King's Chamber cut from a solid piece of granite, and you hum, you hum a scale, for example, there will be certain notes that sound louder and more resonant to you than other notes. And recently we had an opportunity to put sensors all over that pyramid, including the five chambers above the King's Chamber, which I guess we're going to discuss in more detail later, and we found that when we activated the pyramid with hugs speakers and amplifiers in the King's Chamber that all of these sensors resonated, leading us to believe that the entire pyramid was some sort of huge sonic machine."
Richard equates the pyramid to a pipe organ. The openings of some of the recently discovered air shafts from the King and Queen's Chambers are open now and wind is blowing across them like a pipe organ. When you blow air across an organ pipe you get a certain resonant frequency. Richard Hoagland says the builders of the pyramids created hyperdimensional machines, placed at certain latitudes on the spinning planet to excite certain acoustic resonances when the air passed through the open passages.

Boris adds that even if the passages were closed, if you had an internal excitation mechanism, the pyramid as a whole will resonate with certain fundamental tones. The more power, the more energy, the louder the tones.
"What we proved," says Boris, "was when we got back to the laboratory and analyzed our recordings, we found that there were sounds present in the King's Chamber even when we weren't making any sounds. They were below the audible range, below 20 Hertz, below 20 vibrations per second.... Down as far as half a vibration per second, or half a Hertz.

We found that these lower scales had the same five peaks, and when you plotted the peaks on a graph and raised them three or four octaves to where you could hear them, low and behold, it was the same notes. It was the same chord... an F sharp chord, which the early Egyptian texts suggest was a harmonic of Mother Earth. And I might tell you, coincidentally, and we bring this out in our tape, a lot of Native American makers of sacred flutes, tune their flutes to F sharp. Why? Because it's compatible with the harmony of Mother Earth. Now that's just too big a coincidence."


Boris continues,
"We're right now working on a program to replicate the Giza pyramid in a virtual reality state with virtual sound, which we believe will restore, in theory, restore the pyramid to the way it was when the sides were smooth. You know if you think about the wind blowing over the aides of the pyramid, it's like blowing across the mouth of a pop bottle. It makes a hooting sound, it makes a toot, right? You blow across a Coke bottle? Well, we think that's what used to happen with the Great Pyramid.

And we believe that if we can replicate the pyramid, make it smooth, and get rid of the incursions, all of the tunnels.... We believe that maybe the entrance to the pyramid was from the bottom, from down underneath somehow, a long series of tunnels. Because clearly, there was no intrusion into the grand gallery, and we believe that was all part of the giant echo chamber that enhanced the vibrations.... We're gonna try and compare this condition to other pyramids around the world and see whether perhaps that wasn't what they had in mind."
Richard explains that in resonance theory,
"it's really the mass and the length of the cavities or chambers that determine the ultimate tones that a structure will produce."
He says Boris and his NASA colleagues are on the trail of a theoretical model that Stan Tenen and I have been working on for about ten years relating to the model that the pyramids really were machines designed by an extraordinary physics, much older than the classical Egyptian model, designed to do something interacting with the planet.
Now, if you excite these things acoustically, meaning with sound, not from the outside but from the inside, with technology which is now missing because it was all taken away, you got the same effect that Boris is talking about.
"The very structure of the pyramids is calcium carbonate, limestone, which has a certain molecular configuration of the crystal. It's a little tetrahedron made of calcium and carbon atoms, over and over and over again in six million tons of this stuff stacked up in a perfect geometry of the crystal itself called the Great Pyramid. Now if you excite this, if you basically create a tone inside with some kind of huge loud speakers or huge system powered by some energy source... the result is the entire pyramid, all six million tons, will vibrate. It will resonate. It will sound a set of tones, the tones that Danley and Boris are now tracking, in a very faint way."
Richard envisions the builders of the Pyramid designing it so the amplified tones would literally twist the calcium carbonate crystal back and forth in a rhythmic pattern in such a way that you could also twist space and time itself and potentially create extraordinary changes of consciousness. He goes on to say that,
"because the pyramid, through the plateau, is anchored to trillions and trillions of tons of this limestone stretching a quarter of a way around the planet to Indonesia, you literally could change the resonant characteristics of Planet Earth itself if you pumped enough energy into the pyramids [serving] as machines at their precise latitude".

Boris says be doesn't know about hyperdimensional physics and space time travel, but he,
"loves the work that Richard's doing and I think it should all come together.... What I'm saying is that if you lie in the pyramid and you hum or you chant it's conceivable that you could put yourself into an altered state... There is a very easy way to establish the logic of this argument, and that is to try it out, and that's what we're trying to do. There are sounds .... that tape, you know, that were made inside this King's Chamber, and if nothing else, they're spooky."
He says they are something different, something we haven't heard, or been exposed to in a long time, although researchers like Don Campbell, a former guest on 21st Century Radio� are showing how vibrations and classical music can be used to assist healing in surgery and in analysis.
"I think that we're getting to a point," says Boris, "where all of a sudden we're going to find out that vibes is not just a colloquial expression for the New Age.... It's where healing is, it's where altered states are, where awareness is."

For more Information on Richard Hoagland's work visit , or send an SASE to Planetary Horizons, P.O. Box 1130, Placitas, NM 87043. For an autographed copy of his book, The Monuments of Mars, call 1-888-338-8581.

You can learn more about Boris Said's work on the web at , or send an SASE to 1906 Smugglers Hill Rd, Friday Haror, WA 98250. To order his video, "Behind The Scenes At The Giza Plateau", call 1-800-243-1438.

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