Sound sources. Sound vibrations

Man lives in a world of sounds. Sound for humans is a source of information. He warns people about danger. Sound in the form of music, birdsong gives us pleasure. We are pleased to listen to a person with a pleasant voice. Sounds are important not only for humans, but also for animals, for which good sound detection helps them survive.

Sound– these are mechanical elastic waves propagating in gases, liquids, solids, which are invisible, but perceived by the human ear (the wave affects the eardrum). A sound wave is a longitudinal wave of compression and rarefaction.

Reason for the sound- vibration (oscillations) of bodies, although these vibrations are often invisible to our eyes.

FORK- This U-shaped metal plate, the ends of which can vibrate after being struck. Published tuning fork the sound is very weak and can only be heard at a short distance. Resonator- a wooden box on which a tuning fork can be attached serves to amplify the sound. In this case, sound emission occurs not only from the tuning fork, but also from the surface of the resonator. However, the duration of the sound of a tuning fork on a resonator will be shorter than without it.

If we create a vacuum, will we be able to distinguish sounds? Robert Boyle placed a clock in a glass jar in 1660. After pumping out the air, he heard no sound. Experience proves that a medium is needed for sound to propagate.

Sound can also travel through liquid and solid media. The impacts of stones can be clearly heard underwater. Place the clock on one end of the wooden board. By placing your ear to the other end, you can clearly hear the ticking of the clock.

The source of sound is necessarily oscillating bodies. For example, a string on a guitar does not sound in its normal state, but as soon as we make it vibrate, a sound wave appears.

However, experience shows that not every oscillating body is a source of sound. For example, a weight suspended on a thread does not make a sound. Sound sources- physical bodies that vibrate, i.e. tremble or vibrate at a frequency of 16 to 20,000 times per second. Such waves are called sound.The vibrating body can be solid, for example, a string or the earth's crust, gaseous, for example, a stream of air in a wind musical instrument, or liquid, for example, waves on water.

Oscillations with a frequency less than 16 Hz are called infrasound. Oscillations with a frequency greater than 20,000 Hz are called ultrasound.

Sound wave(sound vibrations) are mechanical vibrations of molecules of a substance (for example, air) transmitted in space. Let's imagine how sound waves propagate in space. As a result of some disturbances (for example, as a result of vibrations of a loudspeaker cone or a guitar string), causing movement and vibrations of air at a certain point in space, a pressure drop occurs in this place, since the air is compressed during movement, resulting in excess pressure , pushing the surrounding layers of air. These layers are compressed, which in turn again creates excess pressure, affecting neighboring layers of air. So, as if along a chain, the initial disturbance in space is transmitted from one point to another. This process describes the mechanism of propagation of a sound wave in space. A body that creates disturbances (oscillations) in the air is called sound source.

The concept familiar to all of us is “ sound" means just a set of sound vibrations perceived by the human hearing aid. We will talk later about which vibrations a person perceives and which they do not.

Sound characteristics.

Sound vibrations, as well as all vibrations in general, as is known from physics, are characterized by amplitude (intensity), frequency and phase.

A sound wave can travel a wide variety of distances. Gunfire can be heard at 10-15 km, the neighing of horses and barking dogs - at 2-3 km, and whispers only at a few meters. These sounds are transmitted through the air. But not only air can be a conductor of sound.

By placing your ear to the rails, you can hear the sound of an approaching train much earlier and at a greater distance. This means that metal conducts sound faster and better than air. Water also conducts sound well. Having dived into the water, you can clearly hear the stones knocking against each other, the noise of the pebbles during the surf.

The property of water - it conducts sound well - is widely used for reconnaissance at sea during war, as well as for measuring sea depths.

A necessary condition for the propagation of sound waves is the presence of a material medium. In a vacuum, sound waves do not propagate, since there are no particles there that transmit the interaction from the source of vibration.

Therefore, due to the lack of atmosphere, complete silence reigns on the Moon. Even the fall of a meteorite on its surface is not audible to the observer.

With regard to sound waves, it is very important to mention such a characteristic as the speed of propagation.

In each medium, sound travels at different speeds.

The speed of sound in air is approximately 340 m/s.

The speed of sound in water is 1500 m/s.

The speed of sound in metals, in steel - 5000 m/s.

In warm air, the speed of sound is greater than in cold air, which leads to a change in the direction of sound propagation.

Pitch, timbre and volume of sound

The sounds are different. To characterize sound, special quantities are introduced: volume, pitch and timbre of sound.

The volume of sound depends on the amplitude of the vibrations: the greater the amplitude of the vibrations, the louder the sound. In addition, the perception of sound volume by our ear depends on the frequency of vibrations in the sound wave. Higher frequency waves are perceived as louder.

The unit of sound volume is 1 Bel (in honor of Alexander Graham Bell, inventor of the telephone). The volume of a sound is 1 B if its power is 10 times the threshold of audibility.

In practice, loudness is measured in decibels (dB).

1 dB = 0.1B. 10 dB – whisper; 20–30 dB – noise standard in residential premises;

50 dB – medium volume conversation;

70 dB – typewriter noise;

80 dB – noise of a running truck engine;

120 dB – noise of a running tractor at a distance of 1 m

130 dB – pain threshold.

Sound louder than 180 dB can even cause eardrum rupture.

Sound frequency The pitch of the wave determines the pitch. The higher the vibration frequency of a sound source, the higher the sound it produces. Human voices are divided into several ranges in pitch.

Sounds from different x sources is a set of harmonic oscillations of different frequencies. Component mostThe lowest period (lowest frequency) is called the fundamental tone. The remaining components of sound are overtones. The set of these components creates colorku, timbre of sound. The set of overtones in the voices of different people is at least slightly different,this determines the timbre specifically th voices.

According to legend, Pythago p all musical sounds arranged in a row, breakingthis series is divided into parts - octaves - and

octave - into 12 parts (7 main onesnew and 5 semitones). There are 10 octaves in total; usually 7–8 octaves are used when performing musical works. Sounds with a frequency of more than 3000 Hz are not used as musical tones; they are too sharp and shrill.

Rice. 4. Experience producing sound with a saw and a plank

It is interesting to note that when a sound of a certain pitch occurs, it is completely indifferent which body is vibrating and what is causing the vibrations. Any body that vibrates, for example, 500 times per second will always produce a sound of the same pitch, whether it be a guitar string, a bell or a whistle. And vice versa, if we hear a sound of a given height, we can confidently say: the sounding body vibrates 500 times per second. Thus, the frequency of vibrations of the body can be determined by the pitch of the sound.

This pattern often helps us in life. For example, when pouring liquid into a dark container, we determine by the change in the pitch of the sound when it will be filled.

When a car is walking on a flat road, the hum of a running engine has the same pitch; if there is a rise along the way, the engine reduces the speed, the car slows down, and the hum becomes different, lower. Listening to these sounds, the driver adjusts the speed control in a timely manner. The engine increases speed again, and the height of the rumble approaches the previous one.

You can easily determine by the pitch of the sound whether it is a heavy tank with a diesel engine or a light tank equipped with a gasoline engine. The sound of the latter is usually higher.

How does a sound that arises somewhere reach our ear?

3. Sound waves

Throw a stone into the water. Circular waves will immediately spread across its surface, moving further and further from the place where the stone fell. At first glance, it seems that individual particles of water leave along with the wave. But if you throw a light sliver of wood onto the surface of the water, you will see that the sliver only sways up and down; it exactly repeats the movement of the water particles surrounding it. When the wave hits, the sliver rises up to the crest; the wave has passed - and the sliver returns to its original place. It does not move in the direction of the wave, it does not follow the wave. This means that the water particles that form the wave do not go with it, but only oscillate up and down.

In Fig. Figure 5 shows how particles, one after another, enter into oscillatory motion, forming a wave.

The propagation of sound can be compared to the propagation of a wave through water. Only instead of a stone thrown into the water there is an oscillating body, and instead of the surface of the water there is air.

Rice. 5. Schematic representation of a water wave. The arrows show the direction of movement of individual water particles

Let the sound source be a tuning fork. This is a small curved steel rod with a bending leg (Fig. 6). A tuning fork is often used when tuning musical instruments. By lightly striking the tuning fork you can make it sound. In the first instant after the impact, the branch of the tuning fork deviates, say, to the right; at the same time, it pushes the air particles adjacent to it to the right. Then in some small space near the tuning fork the air will be condensed. But air particles cannot remain in this state. Trying to disperse, they will push out their neighbors to the right, and the condensation will very quickly be transferred from one layer of air to another. But the branch of the tuning fork will not be left alone. The next moment it will already deviate to the left and displace air particles on the left side. And on the right the air will now be rarefied. This rarefaction, just like condensation, will quickly communicate to all layers of air.

Rice. 6. Tuning fork

The next oscillation will repeat the same pattern. Thus, each vibration of the tuning fork branch will create one condensation and one rarefaction in the air. The alternation of such condensations and rarefactions is a sound wave. As many oscillations as the tuning fork makes, so many separate condensations - “ridges” and rarefactions - “valleys” it sends into the air. When such a wave reaches the ear, we perceive it as sound.

However, there is a significant difference between water waves and sound waves. Water waves propagate in a ring shape and only along the surface. Sound waves fill the entire space around the sounding body. In addition, in a water wave, individual particles oscillate up and down across the direction of the wave, while in a sound wave, particles oscillate back and forth along the wave. Therefore, waves on the surface of water are called transverse, and sound waves are called longitudinal.

But whatever the wave, the particles of matter participating in the oscillatory motion never move with the wave. And the wave itself is only the transfer of motion from one oscillating particle to another.

Dominoes will help you understand this even better. Place them all in a row, close to each other, and push the first bone (Fig. 7). As it falls, it will carry along the second bone, the second - the third, and so on. In a short time all the bones will lie down. Each of them remained in its place, and only movement was transmitted throughout the row.

Rice. 7. Falling dominoes resemble the propagation of a sound wave.

Exactly the same from the mouth talking man particles of vibrating air do not fly into the ears of the listener, but only the movement of particles is transmitted, forming separate condensations and rarefactions.

We hear artillery shots at a distance of many kilometers also due to the oscillatory movements of individual air particles.

Transmitting sound over a distance requires some work. After all, in order for a sound wave to arise, it is necessary to pump air particles. However, the range of vibrations of particles in a sound wave is negligible. The pressure that is formed in places where the wave is concentrated does not exceed even the very strong sound 0.5 grams per square centimeter, and in a weak sound this pressure is much less than the pressure exerted by a mosquito landing on a person’s head! From this it is clear that the work that goes into creating a sound wave is very small. If a million people spoke at the same time for an hour and a half, then all the energy of the sound waves created by a million voices would only be enough to boil one glass of water!

The reader may ask: why then does it take a lot of work to produce sound? Try blowing the whistle for a while - you will see that this is not such an easy task. Sirens and horns often use compressed air or steam at a pressure several times greater than atmospheric air pressure. And, despite such a large expenditure of energy, the resulting sound travels over a relatively short distance.

It turns out that in all sound sources only a small part of the work expended turns into sound energy.

If all the energy of horns and sirens were spent only on creating sounds, they would be heard for hundreds of kilometers! Most musical instruments convert no more than one thousandth of the energy expended during playing into sound energy. When talking or singing, a person converts only about one hundredth of the work done into sound energy. The remaining 99 parts disappear, turning mainly into thermal energy.

4. Sound conductors

A sound wave can travel a wide variety of distances. Thus, gunfire can be heard for 10-15 kilometers, a locomotive whistle - for 7-10, the neighing of horses and barking dogs - for 2-3 kilometers, and whispers - for only a few meters. These sounds are transmitted through the air.

But not only air can be a conductor of sound.

Put your ear to the rails, and you will hear the noise of an approaching train much earlier and at a greater distance than this noise will reach you through the air. This means that metal conducts sound better and faster than air.

Another remarkable experiment convinces us of the good conductivity of sound by metals. If you attach one end of a metal wire to the piano, and lead its other end to that part of the building where the sound of the game cannot reach through the air, and connect this end to the violin, then the sound of the piano will be clearly audible. At the same time, it seems that it comes from the violin.

Good propagation of sound over the ground has long been noticed. The famous Russian writer Karamzin in “History of the Russian State” writes how, before the Battle of Kulikovo, Prince Dimitry Donskoy himself went out on reconnaissance into the field and, putting his ear to the ground, heard the trampling of horses of the approaching Tatar hordes.

You can often see a picture that seems strange at first glance: a driver or driver, taking a wooden stick, applies one end to various parts motor, and the other end to the ear, and sometimes he even takes this stick in his teeth. Taking advantage of wood's good sound conductivity, he listens to the noise of individual moving parts inside the machine and determines whether they are working well.

Water also conducts sound well. Having dived into the water, you can clearly hear the stones knocking against each other, the noise of pebbles rolling during the surf, the sound of a steamship engine.

The property of water - it conducts sound well - is widely used in our time for sound reconnaissance at sea during war, as well as for measuring sea depths.

The examples given indicate that a sound wave can be transmitted not only through air or gases in general, but also through liquids and solids.

In our powerful language, the word “density” is often used as a synonym for “specific gravity” or “specific gravity”, since there is a direct relationship between density and specific gravity, and they are measured in the same units. At the same time, specific gravity, or density, is the most easily measured property of a material and the most accessible for understanding its essence. Therefore, we begin to understand it with him.
What, exactly, is there to understand? And so everything is clear: there are “heavy” materials, for example, steel, and there are “light” materials, for example, foam plastic. A cubic meter of steel weighs several thousand kilograms, and a cubic meter of foam weighs several tens of kilograms; Here you have different densities and different specific gravity.
And yet, let's not be lazy and reflect on this topic, in order to lay a certain basis for our subsequent conclusions.
First, let’s ask ourselves one simple, one might even say “childish” question: why different materials have different densities - and then, let’s try to answer this question ourselves.
Well, firstly, all substances, as we know, at the most elementary level, consist of atoms and molecules. These atoms and molecules - the smallest particles of matter - can be larger or smaller in size, heavier or lighter; and can also be placed in a space more closely or more spaciously. The combination of all these factors determines how much a unit volume of a substance weighs.
And secondly, the substance itself in many materials (with the exception of liquids, glass, metals and some plastics) is also present in the form of various particles such as fibers, grains, crystals, flakes, plates, bubbles, etc., which are mutually located in the material with different gaps. The size and number of these gaps, of course, depend on the shape and size of the particles of the substance. If all the particles that make up the material had an absolutely correct shape, which would allow them to fit tightly against one another - without the slightest gaps (like the blocks in the Egyptian pyramids), then all building materials would be simply a solid mass, and their properties would depend, mainly on their molecular structure. But nature prefers all sorts of whimsical and uneven forms to even forms. She probably thinks that this way she can achieve more variety. Well, nature knows best. And as a result of this, all the particles that make up building materials have more or less irregular shape, because of which, naturally, small and not very small gaps and voids are formed in the places where these particles adjoin each other.
It is quite obvious that the presence of voids in the mass of a material affects its properties, and the larger the proportion of volume occupied by voids in the material, the more significant this influence is.
In terms of density, this influence is determined very simply:
Voids - they are filled with air (or some gases from its composition), which can be considered to weigh practically nothing; This means that the more voids there are in a material, the lighter it is, that is, the lower its specific gravity or density. And, accordingly, on the contrary - the absence or minimum volume of voids means a high specific gravity, that is, density. It’s not for nothing that when we want to emphasize the lightness and looseness of an object or substance, we call it “airy.”
So, we can now answer the question we asked ourselves above as follows:
– Different building materials have different densities because they are diluted with air differently.
Of course, this explanation is only suitable for those materials that consist of particles disproportionately larger in size than the molecules of the very substance that makes up the material. But all the main building materials (stones, wood, concrete, gypsum, ceramics, insulation, various composite materials) are just that. This means that our explanation can be considered quite fair.
In other words, we found that the degree of density of a material depends on its internal structure, on the ratio of the amount of substances present in it and emptiness.
But other properties of the material, such as strength, thermal conductivity, air and vapor permeability, sound permeability or sound reflection, certainly, as well as density, must depend on the internal structure of the material.
Then, wouldn’t density (for the fact that we paid so much attention to it) serve as the key to the rest of the properties of building materials?
So, let's move on - in order:

Strength:

If a material has a high density, that is, a high specific gravity, then this means that the particles of its substance are in greater quantity and are more closely located in a unit of its volume, and therefore, they have more points and surfaces of contact with each other; This means that the total mass has more internal connections, that is, it is more tightly coupled within itself, and the strength of such a material is higher than that of a less dense one. Conclusion:
Higher material density is a sign of greater strength; lower density of the material is a sign of lower strength.
It can be assumed that the strength of a material depends not only on density. There are probably other factors influencing this property (for example, internal structure). However, density, of course, is one of the determining factors in the strength of a material, at least for materials of the same type.

Thermal conductivity and heat transfer resistance:

There is probably no person in the world who, at least once in his life, has not burned himself on some hot object: a kettle, an iron, a frying pan, a soldering iron. This is not only the result of our carelessness, it is evidence that air is a good heat insulator, that is, it almost does not conduct heat through itself. Therefore, we are not able to feel the true temperature of a hot object until we touch it, as long as there is at least a tiny air gap between it and us, which, thanks to the extremely high thermal insulating properties of air, gives us the illusion that this object is not that hot. and hot.
So, air is a very effective heat insulator. But we are not going to build castles in the air! But what about other substances that make up the building materials we are interested in?
To determine the ability of other substances to conduct heat through themselves, we will use a “device” called a “glass of hot water.” Whatever material this glass is made of (glass, ceramics, metal or plastic), touching its side surface, we will immediately understand that this material is not a heat insulator at all, since we will feel a temperature comparable to the temperature of the water inside the glass .
What is the difference between the thermal conductivity of water and air can be felt if you grasp a well-heated frying pan by the metal handle, first with a dry oven mitt, and then with a wet oven mitt.
Thus, we can say, putting ourselves at risk, we found out that air has extremely low thermal conductivity, and all other substances conduct heat much better than air.
This discovery of ours is very important because it allows us to determine which building materials have low and which have higher heat-shielding properties (can be used as “insulation materials”). Since the main heat insulator is air, then we only need to determine in which materials it is present to a lesser extent, and in which – to a greater extent. How can we determine this? That's right - according to density! After all, as we have already found out, in a less dense material there is more emptiness, and the emptiness is air (or some of its constituent gases). This means that a less dense material (due to the presence of air in it in greater quantities) should conduct heat worse than a material with a higher density.
So, we conclude:
A higher density of a material is a sign of greater thermal conductivity, or less resistance to heat transfer; lower density of the material is a sign of lower thermal conductivity, or greater resistance to heat transfer.
This means that polystyrene foam, as one of the lightest materials (that is, the least dense) is one of the most effective “insulation materials”.

Air and vapor permeability:

Materials such as brick, plaster, concrete, natural stones, wood - in general, anything that consists of crystals, particles or fibers - are, to one degree or another, permeable to air and water molecules, that is, a couple. In this case, the degree of permeability, as a rule, depends on the density of the material. Just as water instantly seeps through freshly poured loose sand and much more slowly through previously well-compacted sand, air and steam molecules seep through less dense materials more easily and quickly, and through more dense ones - more slowly. Thus: the greater the density of the material, the greater its resistance to vapor and air permeation. The exception is some artificial foam materials, such as polystyrene foams, which have closed pores in a polymer mass that is almost impermeable to air and steam, as a result of which, with a very low density, they nevertheless allow air and steam to pass through them very poorly.

Sound insulation and sound permeability:

School physics teachers, one and all, claim that sound is wave energy. That is, these are wave vibrations of any medium with a frequency corresponding to the sound range. Well, if the teachers say so, then it is so. There is no doubt about it. Well, let’s find out how this happens.
And of course, since we look at everything from the position of material density, we will also look at sound from the same position.

PROPAGATION OF SOUND WAVES IN VARIOUS MEDIA

Note that sound waves exist in space for a reason - on their own, but in a certain environment. Most often we deal with sound that travels in the air. In addition to air, sound can propagate in other media: in water, in stone, in metal, etc., except only in vacuum. But what does it mean? If sound cannot propagate in a vacuum, but it can in a material environment, then the main difference between a vacuum and a material environment is the property that determines the sound conductivity of a material. And this main distinguishing property is density; in a vacuum it is zero, and the material medium necessarily has some density, even if it is relatively low (such as air). In this case, logically, there should be a relationship: the greater the density of the material, the better the material conducts sound. That is, vacuum is a medium whose density is zero, and the speed of sound in it is also zero; As the density of the medium increases, the speed of sound in it also increases. And the highest speed of sound propagation should be in the densest materials, such as steel. By the way, it has long been known that you can hear the sound of an approaching train much earlier if you put your ear to the railway rail.
At home, the ability of sound to propagate in dense materials can be tested by conducting the following experiment.
In the dead of night, when the whole world is sleeping, and no extraneous sounds disturb us, let's take a wristwatch that ticks, but not too loudly, then take a ruler 30 centimeters long made of dense wood, or plastic, or metal, and apply one end to ear, and apply the same clock to the other end; Let's listen and hear the ticking of a clock in the ruler. With the other ear - through the air - we will hear almost nothing.
So, we found out that in the densest materials sound travels well and quickly, such as steel and granite, but in low-density materials, such as air, it travels worse. In general, this is true. “In general” because the propagation of sound in any medium, in addition to density, is also influenced by the internal structure of the medium itself. Materials may have internal structure more or less "tricky". Naturally, this “trickiness” is a certain obstacle to sound, and sometimes even quite significant, as, for example, in rubber. Rubber macromolecules are spatially complex, which greatly complicates the process of transmitting wave energy through its medium. As a result of this, rubber, unlike other substances, despite its fairly high density, is nevertheless a very poor conductor of sound. But in general, of course, density is a property that facilitates the propagation of sound in media.

REFLECTION AND ABSORPTION OF SOUND

Everyone knows the saying “If only I knew where you would fall, I would lay down straws.” Our life experience tells us that it is much better to fall on a straw than on solid ground. And not only because you get dirty less, but also because you hurt yourself less. God forbid that we fall on a hard stone floor, but we might intentionally plop down on a haystack; The haystack, like a shock absorber, will absorb the kinetic energy of our body. “It will absorb” - because it will not pass it on somewhere further and return it to us, but will take it into itself.
A stack consists of many – millions – blades of grass, blades of grass and straws, randomly located in it. When we fall into a stack, all these blades of grass change their position; during which some work is done to overcome the frictional forces between them, some kind of stress arises inside them - compressive, tensile or bending. And this work is precisely done due to the very kinetic energy of our body. That is, this energy is spent on this work. This is how energy is absorbed.
In a stone, all the particles of which it consists are located very tightly, much more firmly adhered to each other than hay in a stack, and our fall onto the stone floor will not disturb them at all. Therefore, the stone floor will almost completely reflect the kinetic energy that our body tries to transfer to it and return it to us in the form of (at best) bruises. If you take an object made of a material of higher density than stone, for example a steel or cast iron core, and shoot it at a stone wall, then it is not the wall that will “hurt” the core, but rather the core, on the contrary, the wall, and can even destroy it.
What does sound have to do with it? After all, sound is not an object or a nucleus, but a wave.
Sound is not a core, but waves, but it has a certain energy. Just like sea waves, which can be reflected from a rocky shore or can destroy coastal buildings, sound waves can vibrate and even destroy obstacles in their path.
Obviously, the effect of sound on objects and obstacles depends on the density of the material of these obstacles. Just like the sea waves mentioned above, sound reflects very well from stone and other barriers made of high-density materials. Evidence of this is the long echo in the spacious empty rooms with all stone surfaces. At the same time, low-density materials, and especially loose materials, absorb sound energy well, just like a haystack absorbs the energy of bodies falling on it. So in a room where all surfaces are draped with curtains and covered with carpets, the echo disappears completely, since the sound from the surfaces almost completely ceases to be reflected.
One important note must be made here: density is, of course, good, but objects and obstacles consisting of high-density materials, however, can be small and light, such as grains of sand and pebbles rolled by the surf, or a metal membrane microphone, which, thanks to its extremely small thickness, is very sensitive to sound and vibrates even from very weak sound waves. This means that it should be clearly understood that, ultimately, the decisive factor for the reflection of a sound wave is the mass of the obstacle, which, of course, directly depends on the density of the obstacle material.

BORDER BETWEEN ENVIRONMENTS

The fact that sound propagates in different media with different densities leads us to think that, in fact, we need to consider the reflection of sound (more or less) not just from some material, but from the boundary of media with different density. And as it became clear to us from the examples considered, the greater the difference in density, the greater the degree of reflection, and vice versa - the greater less difference in media, the lower the degree of reflection of sound when crossing the boundary between these media. Moreover, sound is reflected almost equally from the boundary of the media, both from the side of the more dense medium and from the side of the less dense medium. A border is a border, no matter which side you cross it from...
In this regard, the example of the boundary between the aquatic environment and the air is very indicative. In water, as a medium much denser than air, sound travels faster than in air, and aquatic animals and fish actively take advantage of this, communicating with each other through sound signals. The underwater world is not actually silent - it sounds, but we don’t hear it, because our ears are in the air - beyond the border between environments.
Another important conclusion can be drawn from what we understand: due to the extremely large difference in densities of stone and air, structures made of stone, concrete and other high-density materials are able to effectively reflect sound waves that travel in the air, thereby providing insulation from “air » sound. However, in the case when the sound comes through another medium with a higher density, for example metal, there will be no effective reflection, and, accordingly, no sound insulation either. This can be illustrated by the sound of an electric drill penetrating even through a thick concrete wall.

FOAM AND SOUND INSULATION

It would seem that everything is clear - foam plastic is light, which means it reflects sound poorly and conducts it poorly, but absorbs it well. We insert it into the partition, and the sound will get stuck in it - that's soundproofing for you! But something still confuses me... The polystyrene foam looks a lot like hay. Mineral wool is fibrous, and it is clear that it will absorb sound in the same way as it did with a haystack. And polystyrene foam consists of bubbles... We need to deal with him separately.
Let's take the ball, put it on the grass of the football field, run up and kick it. The ball can fly very far. Then, let's take a pillow comparable in weight to the same ball, and do the same with it. The pillow will not fly as far as the ball. In general, nothing surprising - after all, that’s why football is played with balls and not pillows. Moreover, we already understand how a pillow stuffed with fibrous material absorbs energy. And the ball - it is elastic - does not deform, does not absorb energy, but flies to itself and spends it on overcoming the resistance of the atmosphere.
It is interesting that the ball, although filled with air, behaves in much the same way as a solid plastic billiard ball. That is, a ball made of air or made of hard plastic is essentially the same thing - when it receives energy, it does not absorb it, but transmits it further. And the bubbles (closed pores) that make up the foam are also the same balls, only small, and will also not absorb sound energy, but transmit it further.
This means that, despite its low density, in terms of sound propagation, foam with closed pores is similar to high-density materials, that is, it conducts sound energy well through itself. And at the same time, again due to its low density, it is not able to sufficiently reflect sound waves.
Thus, it turns out that foam plastic, in itself, is very bad for sound insulation. But this is the result of the fact that it consists of closed pores (bubbles), while the presence of open pores in the material - that is, those that communicate with each other and with external environment– can increase its sound absorption capacity.
It can also be assumed that there is some benefit from using foam plastic in multilayer structures, where sound energy is reduced when repeatedly crossing the boundary between media with different densities. However, in this case the point is not in the foam, but in the design.
Here you go! We managed to expose polystyrene foam, which some sellers of building materials present to us as a material with high sound insulation properties. We now know that it is not such, although as a heat-insulating material it is very effective.

Using our everyday ideas about life and the order of things, we were able to understand some of the properties of building materials. The only thing is that we were able to understand only the essence, that is, at a qualitative level. Of course, in order to understand this in more detail and at a quantitative level (“how many in grams”), we cannot do without specialists, precise measuring instruments, calculations and formulas.
But what we were able to do ourselves is also valuable, now no one will mislead us.
Let us continue to not be afraid to think for ourselves.

I described above about the cult of sound in the antediluvian civilization. Now I want to examine as confirmation of this, how was the “Coral Castle” built by a simple frail man, Edward Leedskalnins?
Thinking about this for two months for 5 minutes a day, looking at photos from the site http://www.djed.su about pyramids and reading http://www.softelectro.ru/scirocco.html better, it somehow just dawned on me this knowledge, as if it was somewhere in the depths of my consciousness.
Well, first of all: Lidskalninsh was a mason and he knew stone.
Secondly: serious mental trauma changes any person, someone begins to write poetry, someone goes into drunkenness, and for others their secrets are revealed. Leedskalnin, suffering from this trauma, in order not to go crazy, began to somehow become interested in the arrangement of the world through books, well, apparently, he came across something about pyramids.
“How did they move such stones, since I am a mason myself?” he asked.
Having good powers of observation (as eyewitnesses spoke about), he somehow discovered a certain effect at work.
One fine day, in a good mood, working with a stone, baling it with a certain frequency, I whistled some Latvian song, like “The dogs barked loudly”, I saw an unexpressed effect of the resonance of the stone, which one can only guess. But apparently it was firmly ingrained in my head that, having saved up money, I bought a small plot of land in Florida. For information: Florida can be said to be a large piece of coral platform with a surface layer of soil of 20-30 cm. Excellent for uniform sound distribution. Well, he already knew what to do then and experimented for two years. Well, you can see the result of his work.

The solution to the Leedskalnin generator with my attempt at repetition.

Look at the photo, the first thing that catches your eye is, of course, the massive flywheel with magnets, which, according to seekers, emits some kind of fantastic energy. Next, the transformer that receives this energy, we see a pipe with an antenna for receiving cosmic ether, on the pipe there is a trans like a receiving one, and from it there is a pulley with chains (or whatever its mechanism is?). Well, it’s a great mystery, it’s probably made of gold, thieves walked there in droves.
And this device generated energy, according to the searchers, for the construction of the building. Yes, I agree, it’s a generator, but it doesn’t emit any fantastic energy, the more you think about it, the more confused you become.
And the solution is as simple as day and night, this technology has been tried by every intelligent inhabitant of the Earth who has ever lived at all times, or 99%. That's why I nicknamed it "Children's Technology of the Ancients."
Firstly, I would like to draw your attention to the ledge in the cramped workshop of Lidskalnin, on which junk is now laid out, why take up so much space if you can make a bench out of wood? Well, probably in America it’s hard to work with wood, it’s easier with stone. This protrusion is part of this generator.

So, the massive flywheel with magnets spins up magnetic field transformer, which is firmly fixed to the block so that it does not dangle. It spins a flywheel like in some models of an electrophone, the weight of which is large enough to slowly spin at 5-5.3 revolutions per minute.
Why, he won’t even produce a volt at this rate? Why do we need volts, amperes, ethers? Everyone sees only this flywheel, but does not see the key of this design, which was picked up and removed by Lidskalnins every time before and after work, realizing that without this detail no one would understand anything (I would have done the same).

This key is a regular hammer tongue from a bell:

It is suspended on the second flange of the pipe, attracted by powerful magnets with 24 poles. The flywheel rotates at a speed of 5-5.3 per minute, which corresponds to the frequency of hitting the pipe with a hammer at 2-3 Hz per second or 120-180 beats per minute. The hammer is picked up by the pole of the magnet, hits the pipe and is immediately picked up by the next pole, and knocks. If the hammer hung separately from the pipe, it would simply be magnetized to it, but this results in a short magnetic circuit that is easily unfastened from the pipe (you can do this experiment yourself with 3-4 magnets).
The sound from the impact spreads along the acoustic lens, which is a protrusion at an angle of 6-7 meters. The most interesting thing is that the pipe comes into contact with a protrusion 1/4 of its diameter.
But what are the other bells and whistles on the pipe for?
In addition to the sound of impact, vibration of a very small amplitude of 0.1-1 mm is also needed to shift the radiation. To do this, Leedskalnin used a vibrator in the form of a strip of metal. But as the building grows, the vibrations should decrease; at first he tried installing a set of plates, clamping them between two corners. We see a block on the pipe, which means the air column in it is not important; he installed a transformer on the block to make it heavier, but this is not enough. Leedskalninsh picks up the pulley (or whatever it is) and presses the plate and trans with the hook. That’s all, now all that remains is to fine-tune the vibrations, and his “golden” bike helps him, by moving it back and forth, he thereby adjusts the tension of the chain, easing the pressure of the hook. The batteries were also discharged, which means the flywheel speed dropped.
Well, he controlled the vibrations using a bath filled with water.

In the same way, the ancients softened and cut stones, only they used the sound of their voices to do this. But besides this, there was the possibility of levitation of stones. The vibrations of the voice of 100 people spread across the stone platform, the stone block resonated and it was only necessary to give a small push: hitting the stone with a rod, stick or high-pitched voice. Lidskalninsh also yelled at the stones.

The blocks were simply delivered; along the way, pipes or iron pillars were driven into a coral or stone platform at a certain distance, knocking on them for about five minutes, a person approached the stone and chanted mantras, directing it where needed. It’s like in radio engineering, there is a carrier wave and there is a wave with information.
That's the whole secret of construction and no magic, aliens or anything else. And why children's technology, because everyone at least once hit a stone, pillar, tree, wall, pipe, mostly in childhood while still chanting and whistling. The blocks were broken off by knocking out wedges and inserting sticks into the size of the block.

What is most amazing about this technology is the low energy consumption for excitation to resonance, just fantastic. Before Leedskalnin, John Keely figured out this technology, but he conducted experiments not with stone, but with metal, which seems much more difficult. But you are mistaken if you think that it is difficult. All processes in nature are the same, only each in its own element, for example, neuroimpulse into muscles, current transformation, etc.
The essence of the process is this: rock the resonance in a stone or rock as gently and calmly as possible, and the larger the stone, the more resonance energy accumulates there. Until people realize that sound (phonons) can melt stones, levitate them, as happens with light (photons) with the help of which we transmit information, excite crystals to release resonance energy in the form of monochrome laser radiation, which not only cuts and melts, but also pushes the spinning top upward. As happens with microwaves (electrons), rocking atoms, melting the material, as happens with radioactive radiation (neutrons), slow neutrons heat up, vibrate and change atoms, and fast neutrons crush them, releasing resonance energy. This comparison can be applied to other areas:

EVERYTHING IS SIMILAR TO EACH OTHER.

Let's take a closer look at the example of a laser:
a flash of light (photons) excites atoms in the crystal, they resonate, giving off energy to an electron, which in turn excites neighboring atoms, releasing quanta of light. Reflecting from the exactly parallel mirrors (ends) of the crystal, they begin to rush around it in an orderly manner until overcrowding pushes them beyond the translucent end.
Likewise, in a stone, sound (phonons) rock the atoms, which begin to sing, emit phonons, thereby pumping up the resonance energy, there are more phonons, and since the speed of sound in the stone is greater than the speed of sound in the air, they also begin to rush around in it until exit into a translucent barrier - air. The stone seems to breathe, expanding and contracting from the center to the periphery, naturally at the atomic-molecular level: 0.001-0.01 mm, and at the moment of expansion the stone becomes plastic. Given our knowledge, it is easy to understand and imagine, but not everyone can see it.
There is a very good simple formula suitable for all environments: E=mc2. If we convert it to the resonance energy, it will be something like this: E=mf2, that is, EVERYTHING IS VIBRATION and exactly all the energy is the mass of the medium multiplied by the vibration frequency of the atomic resonance. It's simple.

For clarity, as Leedskalnin did, I conducted my few experiments; they can be viewed in the video article.

"Physics of John Keeley or "Physics of Phonon Vibrations"

John Worrell Keely (1827-1898), an outstanding American naturalist of the 19th century, earned his daily bread as a carpenter until 1872. This year, as Keely himself later said, while watching the work of a tuning fork, he came up with the idea
about the existence of some new type of driving force. In 1885, Keely loudly announced that he had invented a fundamentally new mechanism that was driven by sound vibrations. According to him, he produced sounds using ordinary tuning forks, and sympathetic vibrations resonated with the ether. And although there were immediately people who ridiculed Keeley, who said that he was wasting his energy trying to build a “perpetual motion machine,” he was openly perplexed and answered: “Look around. In nature, endless (eternal) movement occurs everywhere. Planets rotate continuously, life flourishes, molecules constantly vibrate, exciting countless vibrations of subtle media around them. How this is accomplished and how it is supported is a special question, and for explanations here one must turn to the Creator.
But this is the actual state of affairs. And therefore it is completely natural and legitimate to strive to master these eternal
movements and put them at the service of suffering humanity."
“Confident success here can be expected only by entering into complete harmony with the laws of nature and comprehending the hidden foundations of its amazing actions.

A person moving along this path is often haunted by failures, and is called the “inventor of a perpetual motion machine.” I am also often classified as one of these dreamers, but I find consolation in the fact that this is done by those who have completely missed the point and simply ignore the great and mysterious reality to which I have devoted my entire life to the study and mastery. Eternal motion is unnatural, and only by following natural laws could I hope to achieve the cherished goal I was striving for.”
After his death, Keely was recognized as a charlatan who fooled the public with a game of compressed air. Some consider him a magician, a psychic, because it is difficult for him to read and understand his works. But he was ahead of his time in understanding the physics of vibrations, when scientists had not yet written many articles, laws, and theories.
Of course, the science he founded: “Physics of sympathetic vibrations” was not included in textbooks precisely because of the word “sympathetic”, but in the USA there is an institute for the study of his work, headed by Dale Pond: http://www.svpwiki.com
This man practically described the laws of vibration, acoustic (sound) vibration. As you know, there was an explosion of discoveries in understanding the matter of the nucleus, quantum and other things in the 20th century. If Keely had captured that time, he would have written with his knowledge: “Physics of phonon vibrations,” although perhaps phonons were called differently. And so the phonon was introduced into physics in 1929 by Igor Evgenievich Tamm. But unfortunately, physicists were not directly interested in its capabilities, but began to discover particles similar to this family of quarks, almost as if from a cornucopia. Keely thought that this was some kind of human sensory and emphasized this, just like Leedskalninsh, who graduated from the 4th grade and naturally did not delve into the jungle of quantum physics with their “many kilometers” formulas (it is difficult for a modern person to understand), emphasized that What I understood more or less from my experiments is magnetism.
So what is not clear to a modern person, who already knows a lot, in Keely’s works? Yes, just the word “sympathetic” and a description of the vibrations of sound in old-fashioned words. Moreover, the experiments were described in detail and accurately by witnesses back in 1893. Keely did a brilliant thing: he transmitted the vibrations of phonons through a thread and wire.

About the Keely engine (witness description):

“In front of us is a large wheel made of durable metal weighing more than 32 kg, installed so that it can freely rotate in one direction or another around its axis. The wheel hub is made in the form of a hollow cylinder, inside which resonance tubes are located parallel to the axis. The wheel has 8 spokes At the free end of each of them, a “revitalizing disk” is fixed so that its plane is perpendicular to the spoke. The wheel does not have a rim, but there is an external rim, 15 cm wide and 80 cm in diameter, not connected with the wheel, inside which, without touching it, , the wheel rotates. This rim has on its inside There are 9 similar disks, and on the outer one there are the same number of resonating cylinders connected to the disks. The required filling of the internal volume in each cylinder is ensured using tubes built into it containing a certain and specially selected number of cambric needles. It is very interesting that some of these needles acquire magnetic properties.
Attached to this entire structure is a wire of gold and platinum about three meters long, stretching to a copper sphere through a small window into the next room, where the person who invented and made it all sits.
He touches the tuning forks of the sympathetic transmitter, musical instruments sound, and suddenly before your eyes a large wheel begins to rotate quickly and you turn around, looking in amazement at Orpheus, again

returning to Earth and surpassing the fabulous feat that glorified him. You see how, enchanted by light music, too subtle for the human ear, the tamed forces of nature obediently obey his command; you see how the most constant thing in the world - the magnetic needle, loses its constancy under the influence of his magical spell; you see floating iron balls; you see how inert matter (as, in any case, you have always thought of it) acquires sensitivity, and, impulsively responding to the call of the magician, begins a smooth and continuous whirl."
“Well, what’s not clear here?” You are probably confused by the gold-platinum wire about 3 meters, where can you get one?
So it can be replaced even with a thread (remember from childhood, 2 matchboxes and a thread stretched between them), it’s just that this alloy is cleaner and more accurately transmits the vibration of phonons, regardless of temperature, even without tension. The wire leads to a sphere, which, like a Helmholtz resonator, resonates from playing instruments or tuning forks (records), being the tuning fork itself. The second end of the wire is connected to the rim through a cylinder, which are resonance accumulators and transmit vibration energy to the disks, and they are all connected to each other by wire to maintain the common frequency. Vibration through the air transfers phonon energy to disks located on spoke tubes, the disks resonate (breathe) and lose their gravitational attachment to the Earth’s field, it is now an independent gravisystem, which allows it to choose its own path (ball lightning). And since they are rigidly tied to the hub, all the energy is transferred to it, where there are also tubes, most likely for long-term retention of vibration energy, something like self-powering. The system was adjusted using cambric needles inside the cylinders on the rim (probably cut them).
And now the most interesting thing, how did the wheel still spin? In the photo we see 8 spokes with discs, and there are 9 discs on the rim. Why? Does this remind you of anything? And I see an asynchronous engine system, it turns out to be a phase-shifting circuit, in this system: phonon-vibrius. Place the speaker and microphone opposite each other, moving the microphone will pick up your sound density for each area towards the speaker. Likewise, his other devices used the “Physics of Phonon Vibrations”, resonating tubes, antennae, plates, disks, balls. He used the energy of compressed air as power, and in small quantities, to make the musical instrument sound.

Of course, for most it probably looks like magic, esotericism.
The selection of the resonant frequency is the stumbling block due to which this method nowhere
not used. Keely, Tesla and Leedskalninsh learned to put their devices into resonance.
None zero point there is no ether - this is a logical trap for the uninitiated. There are only resonant frequencies for each object, which allow you to receive more energy from this object than it expended.
In any case, the decline of fuel technology will soon come; with sufficient funding for institutions, it is possible to aircraft like neleo, make fun, the main thing is to move away from the concept of fuel-torque.
I think that phonon technology is useful to us only as an individual use, with modern mechanisms it is easier and faster.

Physics by John Keely as the basis of ancient technology

“Sometimes the truth is revealed to the layman, with his simple thinking, freed from formulas and scientific dogmas.”
Hello everyone. Those who watched my previous videos, especially about “melting” a stone, often write how you did it? Show the device of an electric tuning fork. Probably few people understood what I wrote about in the video articles on the website. Okay, I'll try to explain again. Well, for starters, as expected by theory.

Many will not understand how it is possible to melt, in quotes, stones with your voice and why melt? I ask, how can a person move a load kilometers or bring the Moon closer? Of course everyone is educated and lives in modern world, so they can easily answer - with the help of mechanisms. Well, in the same way you can melt stones with sound using devices. Why melt? The process visually resembles boiling and gurgling. For example, cavitation can be called boiling.
And yet, I am not a scientist, not a specialist, if someone does not understand my common names for well-known processes, just correct them in your mind.
Sound is a flow of phonons as well as electrons. Any object vibrates with sound, even rocks. Look, this is audio playback with video taken by a high-speed camera.
Well, everyone has probably seen this about glasses splitting by sound in videos from the Internet.
Depending on the amplitude and frequency of the sound, the strength and direction of the vibrations changes, although in an empty room the quiet hum of a song through the nose or OMMM vibrates the walls and glass well.
And directed sound in a confined space is capable of much.
This is the cymatics of the experiment carried out in the pyramid, sound vibration.
Here is an experiment with vibration, when changing frequencies, rotation is in one direction and then in the other.
They study Helmholtz resonators in school, or just blow a jar and feel the vibration of the walls of the vessel.
Here's another educational experience with vessels.
In general, vibration is a very powerful thing, no matter what sound or mechanical, for us it is of little use and even harmful. Of course, it is successfully used in some areas, including medicine. But even scientists forget about its simple occurrence; they are used to it being everywhere.
On the Internet you often come across articles about the hollowness of the Moon, here is an excerpt: “The discovery of this fact occurred on November 20, 1969, when the used take-off cabin of the Apollo 12 spacecraft hit the lunar surface. Having oscillated, the Moon trembled for over 55 minutes. Amplitude of oscillations At first it grew, then it began to decline, coming to naught. If we figuratively characterize the recorded trembling of the Moon, it resembles the ringing of a bell in a church. The seismic wave generated by the collision spread from the epicenter in the surface layer of the Moon in all directions, except one - inward, entirely reflected from the secret mirror barrier."
Moreover, they repeated the ex and seriously discussed to test this theory: to explode such a small, well, very tiny thermonuclear on the Moon. Damn, I can’t remember that the stone rings when struck. And even more so in space where there is no air, so phonons rush around there, like photons in a laser crystal, looking for an exit at a speed of 5000 km/s and knocking out new phonons from the molecules of matter. And in the end it's natural molecular bond substances inhibit them.
This is a laser. This is a stone. Here is the man who came up with the idea of ​​making musical instruments out of stones. See how the stone plates shake without breaking.
Well, probably everyone knows about the soldiers marching in step and destroying the bridge.
In general, you understand that sound causes vibration or, as John Keely said, sympathy.
The ancient people evoked sympathy, or a response, a resonance, at a rock or stone with their chants and dances. If the Indians did this directly, due to the strictest discipline, and therefore coherence of actions, then the Egyptians, and later the Greeks, did it in a more cunning, simple and technological way.
Speaking of the Indians, why were they the first to guess about this? Well, who are the Indians? From movies we know proud, freedom-loving, direct people who live in a community, a commune, a tribe. Some of their dances, especially the warlike ones with drums, are very tough, so to speak. Well, some sage, sitting in a cave, noticed some phenomena of vibration and sound, and then it was a matter of experiments that led to something. If you look at their pyramids and pictograms, this is quite painstaking work. And then they spread this knowledge around the planet and even clothes, ornaments, etc. are similar.
Have you ever wondered why? I wrote about this on my website infrafon dot ru. The only thing that will slow down your understanding is the wall about a single continent 12-15 thousand years ago. Even a fool would be ashamed to ask and talk about this, but... if you quietly look behind this wall, you will be able to solve hundreds of mysteries of this world and you just need to connect the continents and populate them with antediluvian civilization. Well, okay, let it be fantasy, otherwise life without riddles is not interesting. I'll tell you about this in another video.
So why did the Indians who thought of this live like savages before the arrival of the Europeans? Well, firstly, they were proud, with the self-awareness of the Aryan race of those times. The system is something like social-Nazism, social-Aryanism, or communism in its infancy, as you like.
(They did not have developed possessiveness, which means they were not inoculated against cunning and meanness. And self-confidence in their invincibility deprived them of flexibility in actions. Although this did not interfere with the knowledge of science. The Mediterranean tribes, on the contrary, learned the taste of property, looking for lighter, cunning ways of life. It’s not for nothing that a couple of books were written there with a call to be more humane towards one’s fellow man. The Indians and Chinese have different books, because they lived there as a community.)
Secondly, why change something if it’s already working, remember the Soviet economy, they came up with one model of some product and produced it for decades without updating, and they will continue to buy it, there’s no escape.
And thirdly, there were few people who knew the technology.
Let's return to technology.
The Egyptians, having adopted the technology and observing the animal world, began to improve it. Their own writing appeared, similar to the Indian one, only easier.
They denoted a sound wave in the form of a snake that crawls quietly, or in the form of a wave, which in some cases is really water. Here is a picture, the cat caught the snake, that is, the inaudible wave of infrasound will not pass by the cat, thank the cats, it will be revived into a mummy by their human descendants in the future. I once noticed that when a faucet with rubber gaskets was slightly opened, the kittens ran headlong into the far corner. Apparently they do not digest all infrasound frequencies.
To make it clearer what sounds were needed for the technology, they drew animals.
Highs, intermittent lows, low-frequency buzzing, prolonged low-frequency roar.
In general, the concept of depicted objects was used according to their characteristics: purpose, behavior, and so on. A sound wave travels along the ground.
And here the meaning is depicted: a low wave is fast, but moves slowly, that is, a crocodile, a cheetah, a hippopotamus in one genetic bottle. The geneticists did their best, it's a joke.
This is our understanding of waves, frequencies.
The energy of sound was denoted by a ball and a snake-wave coming out of it, mainly a low sound.
And I understood this: a carrier low wave carries a high one.
In general, about Egyptian hieroglyphs, I already wrote that it is better to understand them from pictures of where people work.
The depiction of priest-musicians is also mistaken, calling them gods.
I agree with Stanislav Dolzhenko:
“A djed without a “tabletop.” When a djed stands in front of the Priest and food is drawn on top of it, as a rule, the plot of the bas-relief was described as follows: either people are dining at the table, or an offering to someone. But when the artist did not draw anything around the djed, how describe the situation? And researchers try not to explain such a situation. Because this will spoil the imposed overall picture: Ancient Egypt - Funeral home. But people lived there, enjoyed life, raised children. Egyptologists (and other...ologists) for some reason - for reasons it is beneficial to “populate” Ancient Civilizations with religious fanatics, who supposedly did not so much live as dreamed of quickly dying gracefully, ascending spectacularly and successfully settling down in the next world.”
Look, what is God doing? He calms the farik down by letting him smell perfume, cocaine or his urine, like you can smell what your master smells like, but here these gods are already in the form of servants, something somehow doesn’t add up, and there are a lot of such inconsistencies. Their cult of sound was elevated to the rank of divine science, for them sound is a deity.
To pronounce the correct sound with the required frequency was taught since childhood, constantly checking with an ankh or tuning fork. Where did I get the idea that this is a tuning fork? Well, for sure, this is not some kind of scraper for removing the brain through the nose, and not a perfume sampler. Bring the notebook paper to your nose and mouth and hum. You will feel the vibration of the leaf. This tuning fork was tuned to certain frequencies, tones, and consists of a copper or bronze ring, tube, bar screwed to a transverse rod, which is also a very important part, even probably more important than the ring. The frequency setting and the transfer of sensitivity to the handle depend on its quality and performance. The singers' voices were constantly tested and trained. To keep your throat from getting tired and to be able to sing for a long time, you drank full-fat milk, sometimes forcing it. This is mainly for men, as for the owners of low sound, which was practically the basis of the technology.
In order to swing rocks and stone platforms to the desired vibration without the use of hundreds of people like the Indians, the Egyptians used powerful tuning forks. But still, sometimes it could not be done without the involvement of human voice power. The even rows of brigades obediently, like geese, one by one fell to the ground and cackled intermittently in one voice. And these were not five, not ten people, but hundreds and thousands. But whether they were lazier or less disciplined, maybe there were few people, which led to mistakes and a long impact time. Some resourceful person came up with the idea of ​​using tuning forks, which vibrated not only from the voice, but also from musical instruments, mainly stringed ones such as the harp. And this is where, as Egyptologists say, there suddenly came an explosion of technological civilization.
A powerful tuning fork consisted of a djed with transverse reinforcing plates and, depending on the area of ​​use, installed on it, bronze forks, strings, plates, and even light feathers and hollow horns.
It would seem that this is what these plates are for, but they amplify the signal in the same way that transverse vibrators on our antennas improve reception.
Here is a picture of the use of djeds, allegorically of course, but understandable for those people. Primary air with sound comes from the lotus leaf. A sound wave-snake passing through powerful arms-tuning forks excites their vibrations, which are transmitted to a stone platform or even through the air to a rock. People sitting under the image of the density of the sound wave are singers, mixing and complementing the frequency. Well, the big monkey is a symbol of skilled stone carvers.
But the technology was further improved by the Indians, Tibetans, and Chinese. Look at this splendor from Hampi. A hand tool like a vajra was already working here. They, just like John Keeley, learned to tune them to musical instruments. Unfortunately I didn't look for them in the photo. Locals say that they built them using sandalwood, rubbing it against stone. If you soak a sufficiently hard tree, it becomes like rubber, and indeed, if you rub it against a smooth stone, granite for example, it causes vibration. Well, then the smart craftsmen-carvers did this with the stone.

Vibrations were also used to make polygonal masonry. The stones were cut to size and ground together by vibration. This is how they did it? The two upper stones were installed on the two already ground stones. Mentally pull stone 1 up, you will see that it was pointed. When vibration began, stone 2, grinding, cut off the sharp end of stone 1, cracks were visible, and then all these parts were ground in, ground down under a large mass, being forced out into empty space.
Polygonal masonry was also made using vibration. Grinding of stones by vibration, the stone is laid down and pressed down by another stone. If adjustment is needed, then simply climb the stone back and forth, left and right. With vibration it’s easy, just add some water.
The marks remain black, like after a nuclear explosion.
In nature, stones located near faults can themselves crawl from the earth's infrasound and hum. There is a place in the desert three hours away from Los Angeles, which is constantly shaking.
The ancients used vibration to move boats along the river, not a boat, but still. And music was the energy. Pleasure boat.
In the end, I would like to say that vibration technology would be good if humanity had not reached electricity and the use of oil, so I don’t think it will develop into anything more. If someone thinks that something is not being implemented on purpose because of the ban of oil barons and state governments, you know all this is nonsense. What comes out is what is implemented. It’s good that Tesla could not create the transmission of electricity over a distance, and not because the government forbade him, but because nature forbade him. Imagine if this had happened, we would now be walking around with cancer patients, mutants, nature destroyed. This is the same as radio emission, only at lower frequencies. After all, it is possible to release neutrons into free floating, into the ether, then everyone could catch them and send them to a mini nuclear reactor in their kitchen. But this would already be done by the remaining intelligent robots on a lifeless planet. So nature is not stupid, it uses everything rationally, and for every action there will be a reaction. But oil will always be needed, without it there is no comfort. They used to say that beauty will save the world, but now it’s time to say that superconductivity will save the world, 90 percent of the problems of the Earth and people will be immediately solved. All that remains is to find out who is in charge on the planet, or to make everyone equal, listening to each other, and this is the most utopian...
I don’t know about you, but for me the ancient technology is clear.
I also read from the Internet: “The selection of the resonant frequency is the stumbling block due to which this method is not used anywhere. Keely, Tesla and Leedskalninsh learned to put their devices into resonance. There is no zero point of the ether - this is a logical trap for the uninitiated. There is only resonant frequencies for each object, which allow you to receive more energy from this object than it expended." Sooner or later some simple people, enthusiasts, will try to do this in more than one country. Until now, among some peoples, don’t feed them bread, let them dance and sing songs.
In general, the technology is this: you need to vibrate either a stone or an instrument, no matter how, with music, voice or kick.
If I had my own room for experiments, with everything necessary, I would have done something a long time ago.

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On the purpose of pyramids, mastabas and dolmens.

Communication has always been important for humans; in general, this is what developed humans. Just as most people now cannot imagine their life without a toy called a telephone, so in ancient times they were proud of long-distance communication technology. Infrasonic communication of whales, elephants and many animals and insects, which I spied on ancient man. You all know what an echo is, but part of the phonon energy is spent on vibration of the rock, wall and penetration deep into the substance.
By influencing the pyramid with sound, a resonance accumulates there, or, in simple terms, nanovibration begins. The sound is concentrated in the center and passes through a waveguide into a cave carved into a stone platform, which is the sound emitter on the infrasound subcarrier. Along the way, this sound can be adjusted by different frequency chambers. The pyramid itself begins to create infrasound, that is, this entire mass shakes with an amplitude of 0.01 mm but with gigantic power. Indian pyramids have almost the same design, but only for power they use an open waveguide and reinforcing niches in the pyramid. The pyramids were also sound receivers. The distant receivers of sound were dolmens and caves tuned to a certain frequency of the emitter.
At infrasound frequencies, the wavelength is greatly stretched, so you can do it approximately as it turns out, the error is, say, a meter, the wave is caught, very slow. Moreover, it is stretched from the source (a stone thrown into water). It is not known exactly what the frequency of the pyramids was, Vladimir Yashkardin has it at 12 Hz, but it seems to me that 1-5 Hz is quite enough... Here we can draw an analogy with radio frequencies. Long-distance waves have a wider tuning band than ultra-short ones, which quickly fly off when tuning... The unevenness of the slabs on one side, like a sponge, absorbs sound, of course, some of it is reflected from the tubercles, but it is also amplified by the pits, and the flat surface of the slab already radiates evenly. This is a type of diode, conductivity in one direction. Therefore, the signal will be stronger if they are buried or in rock. Although for infrasound it makes no difference, but for the signal it brought, it is influential. I think they removed the signal with a sleeve or installed tuned jugs and plates on the site. Dolmens are like a shell, a jar, you start to put your ear to the ear and hear a noise, the larger the size of the jar, the lower the frequency and the more ear you need, a half-meter sleeve will do...
But the Egyptians had something else to be proud of: an infraphone, a telephone powered by infrasound. The pyramids, sources of infrasound, shook the earth around them, not in the sense of an earthquake, but at the molecular level. It was not sensitive to humans, and it did not bother animals.
And how did it work?
The subcarrier frequency was generated by the vibration of the pyramid, which was transmitted along the ground to buildings, jugs and other objects. And if there is a subcarrier, then you can add a modulating frequency to it, or just a voice, music. This whole wave across the table reached this vessel with a spout, to which you can put your ear and listen, or a jug. But the most interesting thing is how the voice was transmitted. The pictures are full of images of a lotus, but it is not the lotus itself, but its leaf. If you look closely, it looks like a horn with a hose. The sound of the voice vibrates the membrane and enters the stem, where it also additionally vibrates. It is similar to the trunk of an elephant, which quietly purrs as it exhales. But the use of the sheet is possible only in open areas and only next to powerful sources of infrasound - pyramids, djeds with tuning forks as repeater amplifiers. And in enclosed spaces, the sheet was placed on a table or vessel, where the vibrations were transmitted further along the ground to the subscriber. Regarding recognition of the addressee, perhaps everyone in the house had their own vessel with a vibrating string tuned to the voice, since a person’s voice differs even by millihertz, like a fingerprint. The voice changed, they tuned a different string. Of course, there was no great accuracy and they had to listen closely to the polyphony, but apparently this did not bother them. The only inconvenience was that you always had to speak correctly, that is, keep the frequency, the note. And they helped the nobles with this, set them up for a conversation, and in some places even supplemented the required frequency so that the conversation reached exactly the right subscriber, a kind of encryption. In the hands of those helping were hand resonators, which both amplified and were for the convenience of the gentleman’s conversation.
Some of the pictures on the tables show the gifts of the bearers. But perhaps this was necessary to make the vibrating mass heavier. The meat vibrates very thinly and precisely when shaken, like jelly, pudding, jellied meat. The molecules are connected elastically, like rubber. This is an amplifier-storage frequency delay line.
I have already shown that when you hit sticks with a hammer, the stone does not move due to the sudden departure of the wave, but as soon as you start hitting it through the rubber with ease, I repeat, it crawls with ease. Likewise here, the viscous mass enhances the vibrations, stretching them over time. The meat rotted, they fed it to the slaves, and how many geese and ducks there were then, darkness, you can see from the pictures.
In general, their knowledge of acoustics was the same as our knowledge of electronics.
You tried a good confirmation of this technology in childhood, when you played the phone on a string stretched on the street, the audibility from the box is very good. And here is another confirmation, a well-tight thread.
Now about what we were looking for for the right place to transmit the signal. Well, I talked about the ankh, it is for checking the frequency and power of the voice. The connection of the voice with a point or place was checked with Helmholtz-type vessels. They also checked with such a “smoker” in quotes. A vessel or something viscous, such as clay or dough, was placed in a mortar bowl, with sensitive tendrils inserted into the mass. And on the other hand, this stick, they already felt the vibrations. For example in Soviet time This is how motor mechanics checked the correct operation of the car engine by applying their ears, since the palms of their hands were callous. And these are musicians. They looked for the juiciest place with the help of this - sistrum. They write that this is a musical instrument like a rattle to scare away evil spirits. Yeah, from the sound of such a rattle, not only evil spirits, but also children peed and pooped, holding their breath.
This instrument is not in the images with the musicians, but maybe I missed it. They used it by placing it against objects, walls, floors and looked at the spots, groups of which, each on their own length of wire, moved a certain distance. And then the power and frequency were calculated.
Thanks Guard Of-Light https://vk.com/id170878372 suggested, unfortunately I don’t know the name, but here is his experience.

Physics by John Keeley.

John Worrell Keeley, American naturalist, the first of modern people noticed the power hidden in a tuning fork and for 25 years he made devices to extract this energy and quite successfully. If humanity had not thought of generating electricity, we would now have sound technology. But unfortunately, devices based on sound vibration are not so powerful and compact, although in some areas it can be successfully replaced.
What was he doing? And he made very finely tuned devices that were driven by sound and could perform useful work. Unfortunately, people who invested money in his business and demanded immediate profits accused him of charlotry, not understanding the complexity of manufacturing and setting up devices. Scientists of that time did not understand this either, when the model of atoms, quanta and other microcosms was not yet fully understood, when the word ether was fashionable.
(For ardent fans of the ether, I want to explain that the ether is in every and near every body, that is, for the sun it is photons and other particles, for a magnet it is its field, for a conductor with current it is a magnetic field from the souls of forcibly vibrating colliding electrons, etc., etc. .p. This is not some unknown particle, you just need to excite the substance to release its ether.)
The work of John Keeley is still not understood, although so many particles have already been discovered and laws written. Meanwhile, he wrote about this directly in his works, although for us in old-fashioned words.
How do his devices work? You can see in the photo a large number of tubes, tuning forks, spheres, antennae, strings. All of them were tuned to a certain frequency of instruments or the main musical sphere - the phonon generator. These phonons vibrating air molecules caused the strings and tendrils to vibrate.
I read somewhere an ancient Chinese description: when they started playing a stringed musical instrument in a large room, then at the other end of the room the same instrument began to make the same sounds.
Let's consider the operation of the engine. A gold-platinum string extends from a large sphere, which is a Helmholtz tuning fork only with tendrils at the bottom. This entire structure vibrates from the sound emitted musical instruments, the adjustment knob is also visible there. The second end of this string is connected to the rim, on which there are 9 cylinders with discs inserted at the ends and all this is connected by a wire, along which vibration from the sphere occurs. Tubes with disks begin to vibrate and emit phonons, all this energy is received by 8 disks on the tubes that converge on the rotor axis, all this begins to vibrate and rotate on the axis.
I don’t know how much power was generated, but in this photo you can see a powerful circuit going to an equally powerful vibration generator.
Here is another engine excited by a weak stream of air. Air flows from the cylinder into a sphere in which plates, strings, and tuning forks are installed. Vibration and rotation begin, and the flywheel stores this energy. On this device, the strings are tuned to the vibrations of the strings from the musical instrument and begin to vibrate. Vibrations along the rim enter the tubes, which are adjustable, and from the tubes they enter the rotor tubes, which are set obliquely, as in squirrel-cage rotors. Well, then vibration, rotation and energy reserves in the disks.
This is a dynasphere, the same thing only with a rotor in the form of a sphere, a Helmholtz resonator.
If we compare the energy of vibration along a string with electricity, it is similar to the transfer of energy along one wire from a Tesla transformer through an Abrahamenko plug. But only in vibration do phonons chase.

Now about the resourcefulness of Edward Leedskalnin.

Let's now understand how Edward Leedskalnin built his "Coral Castle".
I think many have heard his sad life story. If life takes one thing, it gives something else.
In the photo we see some kind of incomprehensible device: a pile of pipes, chains, a chained bike, probably the most valuable thing that was there, thieves walked there in droves. And of course, Edward Leedskalnin himself turns the handle of an unprecedented generator emitting cosmic energy.
Here's my explanation. The flywheel consists of a set of homemade magnets, which is spun by an electromagnet with a set of plates from an w-shaped transformer, or from a u-shaped one, it doesn’t matter, which is firmly fixed to a block so that it does not dangle. The flywheel with magnets unwinds and each pole in turn picks up the hammer and the tongue of the bell. This hammer knocks on a pipe tightly pressed against a protrusion located at an angle of 4x3m. There is a plate clamped between two corners on the pipe and a transformer is installed, for weight. Next are the chains, the pulley and finally the hooked bike.
It seems like some kind of bullshit, but don’t rush to conclusions.
A hammer hitting the pipe at intervals of 2-3 blows causes vibrations of the plate, which pass along the same pipe, tightly pressed to the ledge, causing vibration of the stone platform. At first, Leedskalninsh installed a set of plates for strengthening, then, as the building grew, he hooked up a pulley, which also vibrated, transmitting vibration energy to the pipe through a hook tightly screwed to the transformer. To more accurately adjust the vibrations, he attached a bike, moving it aside, he thereby tightened or loosened the pulley. He controlled the vibrations by pouring water into the bath and throwing a float and a leaf.
Lidskalnin built a castle and a fence with gaps, which improved and intensified vibrations. That is, the primary wave propagated along, and when the stones began to dangle, the vibrations were already supplemented by transverse waves. (Perhaps these are wave traps, air or rubber, a delay line, a stabilizer for uniform distribution of waves between blocks.)
Witnesses said that he sang to the stones, but rather he mixed in a high pitch, which probably improved transportation. They also say that they saw him breaking blocks using hot springs from shock absorbers. Personally, I only saw traces from wooden stakes, these ones. (mistake, I confused springs with shock absorbers, who knows)
That's roughly how it was. Impact, vibration of a plate or mass, and the release of vibration energy through the pipe to the antenna, protrusion.

Now to my experiences.

Well, you probably saw in my videos earlier how vibration produces work, just like John Keely did through a wire, although he used gold-platinum wire so that others would no longer have the desire to repeat his experiments.
Now I’ll show you this unfortunate device, an ordinary electromagnetic vibrator. Made from garbage, you can make it your own, whatever comes to your mind. Essentially it is a vibration speaker. And you can just try it yourself with a speaker. The main thing is that there is vertical vibration, and not horizontal like with vibrating tables.
(That’s why I say that the Indians, Africans, Indians caused this vibration by jumping, just 2-3 jumps per second in a single impulse in several groups is enough, the waves disperse pointwise, like a drop of rain falling into the water or a thrown stone. Of course, many will say, didn’t they have anything to do like jump? That’s exactly what they had to do, we don’t care what to do right now: a computer, an iPhone, discos, bars, restaurants, theaters, cinemas, and of course, flash mobs that are stupid from idleness. they did it like flying into space for us, the same exciting triumph of victory over nature, although they watched very carefully and learned from it. Well, those who made this technology, processed stones, craftsmen, had more fun than those who bent their backs in the fields , on the hunt.)
This is a model from a black box. Here the plate is thick, therefore the frequency is 420 Hz.
It is better to make the plate from elastic steel; the thicker it is, the more frequency is needed, but it will not be more than 500Hz, only if you use two frequencies, then it will be at kHz, but the search band narrows. I made it from a band saw, if you use one, the frequency is 140 Hz, but the vibration is crazy, so I installed two, it would be better, of course, one as thick as two, the frequency increased to 180 -250 Hz. You can, of course, use frequencies below 30,40,50,60 Hz, etc.
Well, all this is screwed to a rigid plate or table. Each device will operate at its own frequencies, but now it’s easier to do this with a computer than with musical instruments, or you can even use this circuit, with two truly popular 555 microphones. But with two I have something not very good, I probably need to use two coils , but with one it’s ok. If you use a computer, then you remove the circuit from the speakers and the output to the field device, that’s all the device is, good for small experiments, school ones.
I want to do it differently, it will be better this way, a tuning fork with mass. In natural sizes, I mean on a stone platform, mass plays a role there, which is why 1-2 blows are enough. This gave me another thought, (in myths the ancients hovered above the Earth, and it is also said about John Keeley that he allegedly built an aircraft that the military found difficult to operate. Well, I won’t tell you about the design, while I’m preparing myself to experiment, and not their design, but mine,) the mass lifts the mass without fuel, and it is possible even with muscular traction without strain.
As soon as you start using the vibrator, you will immediately understand how to set it up. To configure, use any sphere or ball. Vibrations can be removed both from the plate and from the platform. This spring here transfers vibration to the platform; you can also use just a straight wire, but it seems to me that it gives additional vibration power.
Look for the most vibrating place on the platform. Since all wave processes are similar, there are naturally nodes and antinodes.
If you pass your palm over the platform, you can feel these invisible balls, like a magnet repels.
When the frequency changes, their boundaries move. I must also say that if the stone is close in weight to the mass of the plate and electromagnet, then the vibration power drops significantly. Of course, you can connect a wire to the tool, but this is not convenient. The stone must be firmly connected to the platform so that it does not rattle, and you also need to accurately secure the tool with guides or stops if you want to get a clear picture of the cutout.
Well, now about the actual “melting” of stones.
At first, I screwed the wire to the tube in the same way, but the tube and the stone all the time tended to the source of vibration. Only later did I notice that I needed to change the frequency a little to stabilize. I didn’t drill quickly, for four days, two hours at a time, until I found a more or less correct process. For the first 2 hours she floundered around on my own, screwed to the wire. Over the next 2 hours, I disconnected it and began to turn it slightly, but the vibration amplitude was large, the tube was not secured, and therefore the area between the tube and the stone was significantly corroded. If it were on a stone platform, the zone would be millimeter wide.
But that’s not what influenced it either. I started trying different abrasive materials, first with regular sand, which I sprinkled in the children’s sandbox, without even sifting it. It gnaws, but it goes slowly and smoothly, since the grains of sand are polished, I tried metallurgical slag, the same is good, but a couple of times back and forth with a pipe and the slag is completely worn out, it is necessary to add more often. The crushing of pebbles in a mortar is coarse-grained, it chews well, I liked it, but pounding... The tube did not heat up at all, but it ground down slightly when I began to apply pressure. A good abrasive from a sharpening stone for kitchen knives, just for making clear pictures. I also tried the abrasive from the wheel on the grinder, the speed of the corrosion process doubled, and if you pressed it, it tripled, but the brass began to wear out faster, bits were gnawed out, and with pressure a skirt appeared on the tube.
But judging by these copper sculptures, they did not have a shortage of copper.
I already did the next step with sand, thinking quartz would be good, but I couldn’t find it.
You need to feel the process, how to press it, what force to give. This is certainly not for a modern person; perseverance is needed.
If you don't skimp on metal and abrasive, you can quickly chew it out. It was worn down to the state of cement, which is also a waste of time.
On the last millimeter I pressed a little, the edge chipped.
At the end I added a little abrasive from the wheel, the tube was all in grooves and the metal was ground down.
I tried it with burner, what remains after burning coal. But a brick is a brick in Africa, and the abrasive here is superfluous.
The same goes easily on limestone rocks, marble, and coral.
This is probably how they worked with the vajra, only here the stone vibrates. And so they tuned the vajra to a musical instrument, it itself vibrated. Or maybe with the help of air, because some vajras have a hole. When they blew into it, the tongue vibrated at its own frequency. Only this is how they put it against the stone, probably on rogotulinkas.
All this takes a couple of minutes, like engraving.
If you practice, it will be quick.
Of course, someone will say that this takes a long time, don’t forget, the vibrator is low-power, the frequency and amplitude are not the same, and the ancients lived slowly, at a snail’s pace, compared to our reagent.
I collected what remains from grinding sand and stone, it looks like cement. I calcined it with high temperature, not 1500 degrees of course. It looks like it turned out to be good cement. You can see flakes of mica, maybe metals contained in the stone. I wonder if the Indians had a lot of gold, maybe they crushed gold-bearing rocks this way? There are a lot of them in the mountains, and they have more buildings than the rest of the Earth combined. Perhaps in Egypt they used concrete technology in some places, collecting such cement, plaster for sure.
I dried it, but it didn’t turn out concrete.
But when vibrating with a magnet, it’s good to separate all the little ones magnetic particles.
We found many wooden shovels whose traces were left on granite. Well, I decided to try it, with different breeds. Looking at these shovels, it may seem like something is wrong. And really, why did they do this when they could do it tough. But when you try to make it with wood, you will understand that this rope is nothing more than a spring. If you lead it away from yourself, it doesn’t scrape, but if you start to lead it towards yourself, it starts raking it in and it saves energy. Everything is thought out.
Here is the whole process in one picture, the training is shown here, because the hard worker is wearing a priest’s cap. The musicians play, the singers sing, and the helper pours a directed sound onto the stone.
It also seems to me that they used wooden stencils everywhere. But this is already necessary for scientists or historians to conduct research; I do not have such an opportunity.

(the article was written in order with the time of knowledge and experiments on vibrations 2014-2016)

Well, how did Edward Leedskalnin chip the stone that allowed him to rebuild the Coral Castle, albeit not quickly?
In school, we are taught since childhood how to chop stone in Egypt. They hammered wooden pegs into the prepared hole and watered it with water. They swelled and the stone cracked. The method of metal wedges by masons was also popular until the very half of the 20th century, until special machines appeared. It was in vain that Leedskalninsh feared that humanity would not use vibration technology correctly. Humanity has been tearing up the Earth for a long time in all sorts of ways, and this method has long been outdated.
So what happens to hot iron when it falls into water?
Oh, that's not it.
Of course, the most popular answer will be, it is cooling down. But how does it cool down? Blacksmiths feel this well, even with their iron palms. Iron vibrates, especially something as high-carbon as a spring. The intended block simply cracks.
IN ancient egypt They used tuning forks for this. Holes were made where they were inserted. A simultaneous resonance began from sound or mechanical impact, impact, and the block broke exactly along the marked line. They transported it in exactly the same way, made square holes for the stem of the tuning fork and excited it with sound and blows. All the vibration energy was transferred to the block and it crawled calmly.
(A treatise on vibration mechanics has been written for scientists, author Ilya Izrailevich Blekhman, where there is information about the movement of a block due to vibration)
On the Internet I found an article from 2010 on the website of the musician Montalk. He wrote about the ancients' use of tuning forks and even mentioned Ed. There is a formula for calculating the size of tuning forks. There is a link to the Kilinet website, where back in 1997 there was information: some inquisitive person entered a closed museum in Egypt, and there were strange-looking tuning forks, of different sizes and shapes, from 10 centimeters to three meters. Some looked like a catapult, that is, the forks were pulled together with a rope and right moment circumcised. But bronze vibrates for a long time. The cross-section of the tuning forks must be strictly square in shape, so that the accuracy of vibration transmission in the desired direction is maintained. Over the millennia of looting, all the bronze was melted down into weapons, or lies somewhere in storerooms as incomprehensible equipment.
Edward built his hundred-kilogram tuning fork in the same way, with modern electromagnetic excitation. I talked about its structure and use in other videos.
I'll tell you for those who haven't seen it.
The pipe is driven into a stone platform and is in close contact with the ledge, with an angle of 3.5-4 m on the sides. A strip of metal and a bell hammer and tongue are attached to the pipe. Next comes a bundle with a pulley and chains for the mass. A mechanism from a car engine is embedded in the protrusion, next to the pipe, on which a flywheel with a set of large magnets is installed. The flywheel was spun by an W-shaped transformer at 5-5.3 revolutions per minute or 120-180 beats per minute, each pole of the magnet alternately picks up the hammer and hits the pipe with a frequency of 2-3 Hz. Vibration of the entire structure begins, which is transmitted to the platform and ledge. When there was no building, he installed a set of plates, and as the building grew, they were removed. Then the pulley with chains shook the entire building, which transmitted vibration to the coral platform. And the bike, entangled in a chain, served as a setting; by moving it away or pushing it, Ed adjusted the power of vibrations.
Those peoples who lived near the mountains rocked them with the help of singing. There was a sheer wall, a hole or cave was made, and then about 500 people started buzzing like Ommmm. The cave resonated, and with it the mountain. Others were already quickly cutting it. This is the same feeling you feel when you are waiting for a bus at a bus stop. A diesel car, like a MAZ, pulls up, and the low sound starts shaking.
The Indians also rocked by jumping, dancing, and pointwise. Nonsense, you say. Well, not really. Their dances are not Austrian ballroom dances of lazy beetles, but rather rigid, percussive movements. If you stood next to a passing tram or freight train, you felt the vibration of the ground. Imagine if the impact of the wheels on the rail joint coincided at a frequency of 2-3 per second. The average person weighs 60 kg, multiply by 500 and we get 30 tons. Not everyone jumps at once, but half, 250 people, with a delay of 0.5-0.25 seconds. That is, the result is a mass of 15 tons with a frequency of 1-2 Hz per second, if well trained, like soldiers. Of course the weight will be less, but one ton will be enough. Believe me, this is quite suitable for point swinging. I thought 500 people was a lot, so I wrote about 200, but 500 takes up quite a small amount of space.
This is hard to believe because no one has tried, just like in the case of John Kiely, who is still considered a fraud.
Well, now my efforts.
Naturally, I didn’t find any springs, not just springs, but even pieces of hardware, everything was cleaned up. Edward Leedskalnin had coral under his feet, clear weather, not rain every other day, and a car dump nearby. Have you seen such car dumps anywhere here?
I didn’t find any boulders either. Where to look for rocky outcrops in such a base?
I found something here, but, damn it, next to the mast of a high net. And the main irritant, people, are snooping around here. If they misunderstand, a meeting with the anti-terror committee is guaranteed.
A little further away I found a stone, probably sandstone, and some kind of layered one.
Instead of springs, I found a couple of blades from some saws. When I punched the hole with the same thin blade, it moved to the delamination boundary. So there was no need to chisel the second hole. Then he began to chop along the marking line, I don’t know how soft the coral was and to what depth Ed was punching, but this sandstone, with the last connecting blow, itself burst along the marking lines. By the way, why Leedskalninsh worked at night was not because he was hiding from human gaze, but from the scorching sun. The sun still blinded my eyes, reflecting off the white surface as I felled. There was enough lighting from the fire, especially since it was necessary to heat the springs red hot. Of course, I didn’t turn it red hot, but it will do for a complete understanding of the process. Ed quickly drove the springs into the prepared holes and poured water on them. The springs, which have a decent weight, began to vibrate, since they have spring steel, and the stone broke off along the marking lines. And don’t think that if Ed looked like such a frail little man, it was a burden to him. If there are veins, then they work well even without muscle mass. Moreover, two years of searching and experimenting have honed the skill well and hardened it. In general, to split stone in this way, you can make something like this device, where the springs are connected by a common bar, but for this you also need a powerful electromagnet.
Until I understood how he dragged the stones, either he drove pins into the platform along the path every five meters, or into the stones themselves.
As you understand, tuning forks and jugs vibrate when exposed to music and blows.
We need vibration and I made my own analogue of a tuning fork, an electric tuning fork.
Unfortunately, an analogue of a tuning fork did not work out, but the result was a chiseling tool.
Let's insert it into the prepared hole, which by the way can be made with the same vibrating device or, like the ancients, with a vibrating bronze tuning fork, a vessel.
We select the frequency at which the stone vibrates.
To move the stone I didn’t have enough mass of the transformer, I needed a more massive tuning fork.
The sound emanating from the stone is clearly audible.
After about ten minutes of violence, the stone burst along the delamination and slid a little.
Yes, and the hole is gouged, you need to somehow secure it well.
I already encountered this myself.
All you need to know about this technology is how a tuning fork and a Helmholtz resonator work. And the process is similar to ultrasonic cutting, only low frequencies, from 1 Hz to 500 Hz or two high frequencies, from 500 Hz to 4 kHz. All these frequencies are reproduced either by the human voice or by musical instruments. What John Keely was hiding about at first, but then he realized that the concept of using sound did not reach people and he already said it openly. Unfortunately, this concept still does not reach people.

Breaking and moving stones
using vibrations.

Those wishing to repeat experiments with vibrations can download the assembly instructions:
It is possible with sound, but it is loud.

A sound wave can travel a wide variety of distances.

• gunfire can be heard 10-15 kilometers away,
• locomotive whistle - at 7-10,
• the neighing of horses and the barking of dogs - for 2-3 kilometers,
• and the whisper is only a few meters away.

These sounds are transmitted through the air.

But not only air can be a conductor of sound.

Metal

Put your ear to the rails, and you will hear the noise of an approaching train much earlier and at a greater distance than this noise will reach you through the air. This means that metal conducts sound better and faster than air.
Another remarkable experiment convinces us of the good conductivity of sound by metals. If you attach one end of a metal wire to the piano, and lead its other end to that part of the building where the sound of the game cannot reach through the air, and connect this end to the violin, then the sound of the piano will be clearly audible. At the same time, it seems that it comes from the violin.

Earth

Good propagation of sound over the ground has long been noticed. The famous Russian writer Karamzin in “History of the Russian State” writes how, before the Battle of Kulikovo, Prince Dimitry Donskoy himself went out on reconnaissance into the field and, putting his ear to the ground, heard the trampling of horses of the approaching Tatar hordes.

Tree

You can often see a picture that seems strange at first glance: a driver or driver, taking a wooden stick, puts one end of it to various parts of the engine, and the other end to his ear, and sometimes even takes this stick in his teeth. Taking advantage of wood's good sound conductivity, he listens to the noise of individual moving parts inside the machine and determines whether they are working well.

Water

Water also conducts sound well. Having dived into the water, you can clearly hear the stones knocking against each other, the noise of pebbles rolling during the surf, the sound of a steamship engine.
The property of water - it conducts sound well - is widely used in our time for sound reconnaissance at sea during war, as well as for measuring sea depths.

The examples given indicate that a sound wave can be transmitted not only through air or gases in general, but also through liquids and solids.

Vacuum is a barrier to sound

There is only one barrier to sound, and it can be easily discovered by very simple experience. If you set an alarm clock and cover it with a glass cover, the ringing will be clearly audible. But if you pump the air out of the hood, the sound will die. Why? Because sound cannot be transmitted through emptiness. And this is easy to explain. After all, in emptiness there is nothing to hesitate! A sound wave, an alternation of condensations and rarefactions, encounters emptiness on its way and seems to break off.