The Power of Sound Harmonics Over Matter






Dear seekers of truth,

You may wish to read this interesting account by a scientific witness, who observed Tibetan monks levitating heavy stone blocks using sound harmonics...He made extensive notes of the sacred geometry and divine proportions of all components involved.

This construction science is based upon the opposite pole to the currently known science, but is real nevertheless...and was used in ancient times to construct "cyclopean" walls, temples and monuments....noting always, that the further back in time, the heavier the blocks that were used and not vica versa, as some may assume.

This technology is still known and practiced secretly in parts of the world....

Regards, Colonel Drekx Omega



Excerpt from 'Anti-gravity and the World Grid' edited by D.H.Childress, ch.8, Acoustic levitation of stones by Bruce Cathie, pp. 213-217
A New Zealand scientist recently gave me an intriguing extract from an article published in a German magazine, relating to a demonstration of levitation in Tibet. After obtaining a translation by a German journalist, in English, I was amazed at the information contained in the story, and was surprised that the article had slipped through the suppression net which tends to keep such knowledge from leaking out to the public.
All the similar types of stories that I had read up until now were generally devoid of specific information necessary to prove the veracity of the account. In this case a full set of geometric measurements were taken, and I discovered, to my great delight, that when they were converted to their equivalent geodetic measures, relating to grid harmonics the values gave a direct association with those in the unified harmonic equations published in my earlier works.
The following extracts are translations taken from the German article: 'We know from the priests of the far east that they were able to lift heavy boulders up high mountains with the help of groups of various sounds...the knowledge of the various vibrations in the audio range demonstrates to a scientist of physics that a vibrating and condensed sound field can nullify the power of gravitation. Swedish engineer Olaf Alexanderson wrote about this phenomenon in the publication, Implosion No. 13.
The following report is based on observations which were made only 20 years ago in Tibet. I have this report from civil engineer and flight manager, Henry Kjelson, a friend of mine. He later on included this report in his book, The Lost Techniques. This is his report..
A Swedish doctor, Dr. Jarl, a friend of Kjelsons, studied at Oxford. During those times he became friends with a young Tibetan student. A couple of years later, it was 1939, Dr. Jarl made a journey to Egypt for the English Scientific Society. There he was seen by a messenger of his Tibetan friend, and urgently requested to come to Tibet to treat a high Lama.
After Dr. Jarl got the leave he followed the messenger and arrived after a long journey by plane and Yak caravans, at the monastery, where the old Lama and his friend who was now holding a high position were now living.
Dr. Jarl stayed there for some time, and because of his friendship with the Tibetans he learned a lot of things that other foreigners had no chance to hear about or observe.
One day his friend took him to a place in the neighbourhood of the monastery and showed him a sloping meadow which was surrounded in the north west by high cliffs. In one of the rock walls, at a height of about 250 metres was a big hole which looked like the entrance to a cave.
In front of this hole there was a platform on which the monks were building a rock wall. The only access to this platform was from the top of the cliff and the monks lowered themselves down with the help of ropes.
In the middle of the meadow, about 250 metres from the cliff, was a polished slab of rock with a bowl like cavity in the centre. The bowl had a diameter of one metre and a depth of 15 centimetres. A block of stone was manoeuvred into this cavity by Yak oxen. The block was one metre wide and one and one half metres long. Then 19 musical instruments were set in an arc of 90 degrees at a distance of 63 metres from the stone slab.
The radius of 63 metres was measured out accurately. The musical instruments consisted of 13 drums and 6 trumpets.(Ragdons) Eight drums had a cross-section of one metre, and a length of one and one half metres. Four drums were medium size with a cross-section of 0.7 metre and a length of one metre. The only small drum had a cross-section of 0.2 metres and a length of 0.3 metres. All the trumpets were the same size.
They had a length of 3.12 metres and an opening of 0.3 metres. The big drums and all the trumpets were fixed on mounts which could be adjusted with staffs in the direction of the slab of stone. The big drums were made of 1mm thick sheet iron, and had a weight of 150kg. They were built in five sections. All the drums were open at one end, while the other end had a bottom of metal, on which the monks beat with big leather clubs. Behind each instrument was a row of monks.
When the stone was in position the monk behind the small drum gave a signal to start the concert. The small drum had a very sharp sound, and could be heard even with the other instruments making a terrible din. All the monks were singing and chanting a prayer, slowly increasing the tempo of this unbelievable noise. During the first four minutes nothing happened, then as the speed of the drumming, and the noise, increased, the big stone block started to rock and sway, and suddenly it took off into the air with an increasing speed in the direction of the platform in front of the cave hole 250 metres high. After three minutes of ascent it landed on the platform.
Continuously they brought new blocks to the meadow, and the monks using this method, transported 5 to 6 blocks per hour on a parabolic flight track approximately 500 metres long and 250 metres high. From time to time a stone split, and the monks moved the split stones away. Quite an unbelievable task.
Dr. Jarl knew about the hurling of the stones. Tibetan experts like Linaver, Spalding and Huc had spoken about it, but they had never seen it. So Dr. Jarl was the first foreigner who had the opportunity to see this remarkable spectacle. Because he had the opinion in the beginning that he was the victim of mass-psychosis he made two films of the incident. The films showed exactly the same things that he had witnessed.
The English Society for which Dr. Jarl was working confiscated the two films and declared them classified. They will not be released until 1990. This action is rather hard to explain, or understand.: End of trans.'
The fact that the films were immediately classified is not very hard to understand once the given measurements are transposed into their geometric equivalents. It then becomes evident that the monks in Tibet are fully conversant with the laws governing the structure of matter, which the scientists in the modern day western world are now frantically exploring. It appears, from the calculations, that the prayers being chanted by the monks did not have any direct bearing on the fact that the stones were levitated from the ground.
The reaction was not initiated by the religious fervour of the group, but by the superior scientific knowledge held by the high priests. The secret is in the geometric placement of the musical instruments in relation to the stones to be levitated, and the harmonic tuning of the drums and trumpets. The combined loud chanting of the priests using their voices at a certain pitch and rhythm most probably adds to the combined effect, but the subject matter of the chant, I believe, would be of no consequence.
The sound waves being generated by the combination were directed in such a way that an anti-gravitational effect was created at the centre of focus (position of the stones) and around the periphery, or the arc, of a third of a circle through which the stones moved.
If we analyse the diagram published with the original article, then compare it with the modified diagram, we become aware of the following coordinates, and the implications, when compared with my previously published works.
The distance between the stone block and the central pivot of the drum supports is shown as 63 metres. The large drums were said to be one and one half metres long, so the distance from the block to the rear face of each drum could be close to 63.75 metres considering that the pivot point would be near the centre of balance.
My theoretical analysis, by calculator, indicates that the exact distance would be 63.7079 metres for the optimum harmonic reaction. By mathematical conversion we find that this value is equal to 206.2648062 geodetic feet, which is harmonically equal to the length of the earths radius in seconds of arc (relative to the earths surface) 206264.8062. This also leads us to the following associations:
(206.2648062 x 2) = 412.5296124 This number squared = 170180.68 which is the theoretical harmonic of mass at the earths surface.
The four rows of monks standing behind the instruments in a quarter circle added to the production of sound by their loud chanting and must be taken in to account in regards to the geometric pattern.. If we assume that they were standing approximately two feet apart, we can add a calculated value of 8.08865 geodetic feet to the radius of the complete group. This gives a maximum radius of: 214.3534583 geodetic feet.
The circumference of a complete circle with this radius would be: 1346.822499 geodetic feet.
Which is a half harmonic of 2693.645 (unified field)
The distance from the stone block to a calculated point within the cliff face and the height of the ledge on the cliff face from ground level is given as 250 metres. If we can now imagine that the raised stone blocks pass through a quarter arc of a circle during their flight from ground level to the hole in the cliff face, then the pivot point of the radius would be coincident with this position.
The theoretical radius was found to be: 249.8767262 metres which very closely approximates the estimate. This converts to 809.016999 geodetic feet. The diameter of the full circle would therefore be: 1618.034 geodetic feet.
A circle with this diameter has a circumference of 5083.203728 units, which can be divided into three even lengths of 1694..4 It therefore appears that the levitated blocks, once resonated to a certain frequency, would tend to carry out a flight path that is coincident to one third of a circle. The spacial distance being equivalent to the mass harmonic at the center of a light field, 1694443.
The instruments used by the group, in theory, would also have been tuned to produce harmonic wave forms associated with the unified fields. The given measurements are in rounded off parts of a metre but in practice some slight variations from these measurements would be expected in order to create the appropriate resonating cavities within the instruments
The geometric arrangement, and the number of instruments in the group would also be a most important factor.
If the given measurement for each type of drum is modified fractionally and converted to its geometric equivalent an interesting value for the cubic capacity is evident.
The large drums:
1.517201563 metres long, 1.000721361 metres wide = 58.94627524 geodetic inches long, 38.88 geodetic inches wide = 69984 cubic inches capacity = 40.5 cubic geodetic feet capacity.
Therefore the cubic capacity for eight drums = 324 cubic geodetic feet This harmonic value is built into the world grid and is equal to half the harmonic 648.
The medium size drums:
1.000721361 metres long, 0.695189635 metres wide = 38.88 geodetic inches long, 27.00948944 geodetic inches wide = 22276.59899 cubic geodetic inches capacity = 12.89155034 cubic geodetic feet capacity.
Therefore the cubic capacity for four drums: = 51.56620136 cubic geodetic feet
14.97414932 centimetres = 5.895334377 inches = 5.817764187 geodetic inches = 0.484813682 geodetic feet
As the dish-shape was focused upward towards the stone block to be levitated it would be expected that some type of reaction would take place which had an effect on the mass. The geometric shape of the cavity does seem to be engineered in such a way the projected frequency vortex causes a reciprocal reaction to the mass harmonic of each block. The reciprocal of 0.484813682 = 2.062648055 Twice this value: = 4.12529611 The square of this value: = 17.018068 (the harmonic of mass at the earth's surface.17018068
I believe that there is not much doubt that the Tibetans had possession of the secrets relating to the geometric structure of matter, and the methods of manipulating the harmonic values, but if we can grasp the mathematical theory behind the incident, and extend the application, then an even more fascinating idea presents itself.
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  • In ancient Atlantean culture and thus all the legacy civilisations that inherited aspects of it, electricity and magnetism was often depicted and identified as serpentine.....The great ouroboros, or circular serpent was associated with the green anaconda, of south America and it had a celestial counterpart we today describe as the aurora......A green "snake" which consumes the Earth, in a figurative sense, but also in a benign sense, as this energy is and was always considered benevolent....But, one can imagine a snake of the constrictor family of snakes, surrounding a prey and slowly consuming it....Thus symbols such as the ouroboros, which cycles and never dies and also the Uraeus, used as a symbol of royal power, but more importantly guardianship....worn on diadems...
    So rather than a biblical temptation, we read about in the genesis story, the snake is seen as a guardian and defender, exerting much power and energy, over Earth...and indeed, over the solar disk, we also see this energy...aka, the symbols on the god's diadem...Ra the sun god, for example...
    If one thinks about the aurora borealis and australis, it does indeed serve as a type of celestial shield.....A life giving energy for planetary life.....
    The ancients knew this and so created such artistic concepts, to show that indeed, there is an above, for what is below......a celestial for every terrestrial....

    When working in the deepest caverns and pyramids, how did ancient stone workers and artists see what they were doing...?? They had torches, of course, but they also used large light bulb lamps, as shown in this papyrus....
  • Sound harmonics to levitate 100 ton blocks of granite, with exact precision. Archeologists describe this as "Cyclopean architecture...." No modern crane can do this....
    And some ask for proof of ancient Atlantis, when of course, most is lost, apart from legacy....However, stone is a long lasting medium and the techniques of granite tooling and machining can still be found, in places such as Egypt.....

    See this video about some highly accurate tooling and machining of granite, on box shaped shrines, or housing.......
    Granite and limestone were quarried, but the latter was ground and combined with an epoxy, and poured in many structures and when dried, rock solid...Thus accuracy assured, between blocks....But, granite was carved and cut with advanced drills and lathes, powered by aetheric energy, rather than diesel or mains electricity.....But it's a bit like having a mains supply to hand, which is mobile, so no need to plug in....
    The lathes and drills were Atlantean stone working tools and early Egyptian dynasties and their stone masons, had some knowledge of them, but over time, the knowledge was lost, yet the finished artifacts remained, especially the stone ones....

    Of course, Egyptologists believe copper tools were used and that may have been the case, centuries later, but not with serious granite stone working...
    The drill bits were diamond and boron....And far more dexterity allowed in useage, than modern day drills and machine powered tools.....

    The granite stones and a variety of finished products, were placed into a site, using sound harmonics, not dissimilar to that used in Tibet, as shown above...

    Proof of ancient civillisations can be gleaned from observing the finished products, in stone....The many finished products made of other materials, mostly gone, by now...Albeit, the techniques learned at one time and then lost, again...
  • ''trumpet in sky' over london was the dung chen, played at tikse gompa, projected by meditational harmonic, bounced off atmosphere.....nice one....;-0

  • search youtube vids for; 'tibetan horn' and 'mystery trumpets' sounds identical....happy hunting. d.o.

  • tibetan long horns blown by monks serving the divine plan are being heard in skies, worldwide, as 'mysterious trumpets from the sky.' compare yt vids and confirm fact sky

  • this is divinely inspired service through planetary crew is trained, likewise...i refer any bible students to jeremiah ch. 25;31

  • harmonic sound waves can be bounced off high altitudes of atmosphere, to target a gravitation anomaly, thus compensate the defect....anywhere on the planet...

  • tibetan horns are vast, like those used in the alpine region of europe.....very deep...

  • the musical instruments used are manufactured in tibet, using traditional methods and materials...the science is atlantean....

  • this sound harmonic is amplified through the atmosphere, globally, giving rise to numerous reports of 'mystery trumpets,' on www

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