49th Octave

Octaves Of Oscillatory Frequencies

Spectro-Chrome Metry Encyclopaedia, Chapter 11

Just as there are 7 Divisions on the Physical Plane and the Rainbow has 7 Colors, the Energy known as Sound has 7 notes in Music and the same note recurs on the eighth key, only it has a higher or lower Pitch according to which side of the Scale is reckoned. Each complete Scale of Notes is called “Saptaka” or Septave meaning the Scale of Seven. Actual measurement shows that going from the low to the high, each eighth note has a vibration rate of double the number; thus, each Octave from low to high has double the vibration frequency in the high as in its neighboring low and to find the Octave Frequencies means a question of simple arithmetic.

We must first differentiate between what is called Vibration and what is known as Oscillation. Though used as synonyms, their significance is widely different in the correct sense. In my work as a scientific researcher, I deal with such delicate weighments that I feel lost without appropriate phraseology. Without correct phrases and words and without a proper understanding of the correct meaning of the idioms of a language, one is liable to be lost in a maze of unintended blunders and the results might sometimes be extremely ludicrous.

A Frenchman having learnt his English, properly as he thought, in Paris, France, went to London, England. There he was on a surface rail­road one day, when as the train was about to ap­proach a tunnel for entering the Underground Rail­way, the cockney conductor passed through the cars shouting the wonted warning, “Look hout, the tunnel his near; look hout, the tunnel his near!” The Frenchman heard this and promptly put his head OUT when lo! bang it went against the wall of the tunnel and he pulled it in with a roar: “Heye- yey! what kind of a fellow are you?” “Well, hi told you to look hout.” “That’s what I did; why didn’t you say ‘look in’ ?!”

Take the case of the German gentleman who went to England to study. The English professor endeavored to impress upon the mind of his pupil, the difference in the pronunciation of the two lan­guages: “In your German, all the pronunciations are as written; the vowels a, e, i, o, u have only one sound: ‘a’ like in father, ‘e’ like in freight, ‘i’ like in believe, ‘o’ like in boat, ‘u’ like in rule; in our English, however, the sounds are not similar and you have to be on the watch for their peculiari­ties. All consonants must be pronounced.” The study went peacefully until the following lesson came and the trouble started for the poor German:

“Read this word,” said the Professor.

“Das ist T-R-O-U-G-H, TRO-UGH, TROW- OO-GHA,” replied the new student.

“No, that is TROF,” corrected the Profes­sor; “now read this.”

“Das ist P-L-OU-G-H, PLO-UGH? Nein, nein; das ist PLOF.”

“No, that is PLOW,” said the teacher; “what is this now?”

“Das? Eet ist R-O-U-G-H, ROW?”

“No-o-o-o,” shouted the distracted Profes­sor, “das ist ROW nicht; it is pronounced RUF like in buff. Go ahead with the next.”

“T-H-O-U-G-H, DHUF.”

“Nonsense; it is DHO; proceed.”

“Das wort is E-N-O-U-G-H; es ist A NO.”

“Hang it!” roared the professor losing his patience; “das ist E NUF; go on with the last word.”

“The word is T-H-R-O-U-G-H; ich verstehe gut; THRUF,” replied the student with a gleeful chuckle, but, the wrathful English Professor threw down the books and disappeared, mumbling some phrases like “dummkopf,” “esel,” “gebrechlich,” et cetera.

It will thus be clear to you, that language in learning is of vital importance and I emphasize that meanings must be duly comprehended for the meeting of minds. Otherwise, the teacher and student will think along varied tracks and har­monious rapport will not result.

Vibration means a tremor, quake, shake, tremble; Oscillation means a movement from point to point. In practice, it is safe to state that Oscilla­tion is Vibration + Transportation. When this brass plate is struck, the particles constituting the plate tremble, but, the plate does not move away bodily; that is Vibration of the plate. The Sound produced by the blow, is owing to the imparting of that Vibration to the particles of the surrounding air, which transmit it to adjacent layers till the destination is reached; this transmission is the Os­cillation. A plate struck, vibrates; a pendulum moved, oscillates. That is why I differentiate be­tween the two words.

Beginning with the First Octave, we count that as of 2 Oscillations, because, a full Cycle has one move forward and one move backward, mak­ing 2 Oscillations. As our smallest period of Time is 1 Second, the Standard of Oscillatory Frequen­cies is 2 Oscillations in 1 Second, making the First Octave. The Second Octave has 4 Oscillations and the Third Octave has 8. Till now, though there may be an exertion of Energy, nothing is heard, but, as soon as the Pitch rises to the Fourth Octave of Oscillatory Frequency, 16 Oscillations are made and a low musical note is heard. The Fourth Oc­tave, therefore, is called the Octave which produces the Lowest Audible Note. Below that figure, Energy may exist or be exerted, but, the human ear does not cognize it.

If you look at the keyboard of the piano­forte, you will find 88 keys. From a certain near- middle point, there are 4 Octaves in the Treble and 3 Octaves in the Bass, embracing a total of 7 Oc­taves with more keys. The lowest range of such pianoforte, comes at the Fifth Octave with an Os­cillatory Frequency of 32 per Second. The Great C appears at 64, the Small C at 128 and the Middle C at 256 Oscillations per Second, on the Sixth, Sev­enth and Eighth Octave, respectively. However, the tuning of the modern pianoforte, just like the white flour of the market, differs slightly from the theoretical actual and is 261-2/10 Oscillations per Second for the Middle C; it is the difference between the Conservatory Pitch and the Concert Pitch. If seems they never follow Nature, but, must intro­duce some odd peculiarities to suit notions of “Pro­fessors.”

A Tuning Fork is a good instrument for demonstrating the number of Oscillations in a mu­sical note; here is one having the 128 and another the 512 Oscillations per Second; strike one prong on a hard surface and hold the Fork tightly against a board; the hum will be distinctly heard.

Proceeding from the Middle C, with its theoretical 256 Oscillations per Second on the Eighth Octave, we land on the last high Octave of the pianoforte, on the C5 the Twelfth Octave with 4,096 Oscillations in a Second and whose B note (the last note of its Octave but not on the key­board,) sounds with 7,680 Oscillations in the same period. That note has a terribly shrill, piercing character, which no human mouth ever produced.

A step further, with the Thirteenth Octave at 8,192 Oscillations a Second, begins the Buzz Pitch of Insects. The wings of insects oscillate with incredible speed, some buzzing on the Fourteenth Octave and making 16,384 Oscillations in a Sec­ond. As this point is attained, the appeal to the human ears becomes tense, until finally, on reach­ing the next stage, on the Fifteenth Octave at 32,- 768 Oscillations in a Second, the Highest Audible Note is created and the power of our ears to cognize further such Energy, ceases. Lift up your right hand to try this experiment; wave the wrist one way and another; wave it 16,384 times in l Second; well, that is what a little insect does, which you with all civilization behind you cannot do!

As Sound is caused by the disturbance of the atmosphere as a conducting medium of the Energy, it is evident that the Resistance of the particles com­posing the air, will have to be considered in mo­tioning with such numerical height. Upto the Fif­teenth Octave, there is no trouble noticeable, but, right after, the experimenter’s miseries start. The atmosphere resents the terrific tremor and as it were, refuses to obey it to produce the Oscillatory Frequency. The only way to circumvent it would be to decrease this Resistance, which can be done by making a partial vacuum and injecting the Energy onto the rarefied gas. Promptly comes the response. Such rarefied medium may then be mo­tioned upto the Nineteenth Octave, making 524,- 288 Oscillations in 1 Second. The resultant Energy is still a mode of Sound; it is an Inaudible Rarefied Medium Sound, which is incapable of appealing to the human ears. However, such Sound as an Os­cillatory Frequency, has a tremendous potency for disintegration of objects and it is good that out­side of certain research laboratories, its existence or method of production is not generally known. I call it Ethereal Sound. On the Twentieth Octave, with 1,048,576 Oscillations in a Second, all Sound, even the inaudible, vanishes and to make more Oscillations it is vital to change the Medium of Conduction or Transportation.

Thus, we come from the Gaseous Division to the so-called Ultra-Gaseous. Till now, the only known Energy produced—Sound—was by the bombardment on Solid, Liquid or Gaseous matter, the last being the air. At the Twentieth Octave, the limit of motioning Gaseous Division is reached, even though that Division be rarefied by partial exhaustion. It becomes necessary now to utilize a Medium of Transportation of a finer particulation. The borderland of the Gaseous with the Ultra-Gaseous is between the Twentieth and the Forty-Second Octave, the latter having 4,398,046,- 511,104 Oscillations in l Second. This type of Medium of Transportation, on the Physical Plane, represents practically the inconceivable condition of the inside of a tube exhausted of all air, so what remains might stand for the residuum of an inch of air stretched out to two thousand miles or more —we may call it safely a perfect Physical Vacuum in regard to the spaces between the particles.

At the Forty-Fifth Octave, the Oscillatory Frequency increases to 35,184,372,088,832 in a Second and the sense of Touch tells that a new kind of Energy is born; it is called Heat; I cog­nize it as Invisible Light or Dark Light. We com­mence here to slide into the Invisible Thermal Spec­trum of the Sunlight which has the Oscillatory Fre­quencies from the Forty-Sixth to the Forty-Eighth Octave. Heat evolves at the 45th; the addition of all the numerals, 1 + 2 + 3 + 4+ 5 + 6 + 7 + 8 + 9 is 45; therein lies an occult fact. On the Forty-Ninth, as the Oscillatory Frequency per Sec­ond jumps to the high mark of 562,949,953,421,- 312, the middle of the Spectrum of Colors has come into existence, the first Visible Light starting around 318 Trillion Oscillations per Second, with a faint Red Color. While the range of the ear for hearing is from the Fourth to the Fifteenth Octave, a span of 11 or 12 Octaves, the eye can sense only l Oc­tave—the Forty-Ninth. As soon as the Fiftieth is reached, with its 1,125,899,906,842,624 Oscil­lations, the faint Violet of the Spectrum vanishes and for Seven more Octaves, the potent, but in­visible Ultra-Violet Range of Radiations is entered. Before going further, we shall look into some of the properties of Oscillatory Frequencies and the con­version of one Energy into another.

In the Bible, in Genesis, the First Book of Moses, in Chapter 1, verses 3 and 4 is written, “And God said, Let there be Light and there was Light. And God saw the Light, that it was good: and God divided the Light from the darkness.” God spoke to make Light; thus, Sound preceded Light. On the Oscillatory Frequency principle, this is very correct, because, Sound is an Energy acting on a lower Scale. The fact of Light appearing on the Forty-Ninth Octave, explains its Divine origin and relation; God is represented symbolically by the Circle and only 7 Circles can produce the Cosmos; the Number 49 is made by 7 X 7 and stands for each Circle having been traversed 7 times in Cosmogenesis, before Light came into being, with its Seven Spectral Colors. This beauteous Energy was preceded by Sound with its Seven Musical Notes, the Number 7 keeping pace with the Scales of Evolution.

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