The Nature of Sound.
Sound is a mechanical longitudinal pressure wave in gases and liquids.
In solids and metals transverse pressure waves are also generated.
It requires a medium to travel.
The speed at which sound travels through a medium is largely dependent on the density of the medium.
As a rule of thumb, the denser the medium, the faster the speed of sound.
So what does that mean in practical terms?
Say we have a long tube filled with some medium, say air, each end sealed with a flexible membrane. Figure 1.
We now push membrane A towards membrane B. What happens when the air particles adjacent membrane A get compressed? Figure 2.
We now have an area of high compression adjacent to the membrane while the rest of the particles in the tube are still in their old positions. We have disturbed the equilibrium of forces inside the tube.
Since nature always tries to re-establish equilibrium the compression gets passed on to the next lot of particles from there to the next and so forth until the compressed zone reaches Membrane B.
The compression zone acting on Membrane B causes said membrane to move in the direction of the original push by exactly the same amount of displacement, minus some minor losses due to friction etc, as that caused by Membrane A. Figure 3.
Equilibrium thus re-established the movement comes to rest.
The reaction is not instantaneous through the length of the tube. It requires time for each particle to push the adjacent one in turn.
In other words the compression zone travels. The speed of travel is the speed of sound, although we express this usually as the length of travel over a given time frame in m/sec or ft/sec.
What happens now when we withdraw the pressure from Membrane A? Figure 4.
The particles in the compression zone adjacent to the rarefied zone rush in to fill it, in turn creating a rarefied zone behind. This reaction happens in turn throughout the tube until the rarefied zone reaches Membrane B, allowing the membrane to assume its original position.
In other words the rarefied zone travels in the same way as the compression zone did and at the same speed.
Equilibrium thus restored the movement come to rest. Figure 5.
If the compression and decompression cycles are shorter than the time required for the compression zone to reach Membrane B we get a rarefied zone behind membrane A while the compression zone still travels towards Membrane A. We thus get a series of compression and decompression zones following each other from Membrane A to Membrane B at the same intervals as membrane A is moved, causing membrane B to move in exactly the same manner as Membrane A, albeit some time later. Figure 6.
The travelling compression zones thus created we call waves. The rapidity of movement we call frequency.
Frequency is expressed as cycles per second or Hertz.
This is what the movement looks like:
It is of importance here to note that the actual particles in the tube move only for very short distances before returning to their original positions.
This is in stark contrast to electromagnetic radiation (which is also called waves) where actual particles travel across a distance, be they ions, electrons, photons or alpha and gamma particles.
That is why light, radio waves etc can travel through a vacuum, whereas sound cannot.
Two light waves crossing, each other at right angles do not effect each other in any way.
Two soundwaves crossing at right angles have a profound effect on each other that becomes more noticeable when the frequency of the waves are different.
Leaving that aside for the moment, for this comes under category of harmonics, beat frequencies, feedback etc, let us get back to structural changes within matter brought about by sound.
We know we can destroy particulate structures using sound. Metal fatigue and the breaking of glass can be brought about by sonic vibrations.
Since we also know that prolonged exposure is required to achieve this, which means that the effects of sound are cumulative, there must also be intermediate stages where the effects of sound have not brought about destruction, but have altered matter in profound ways nevertheless.
It is in that area where Keely's work is unique.
Keely with diligent research and meticulous observation had invented a way to create a resonating body that was so pure in its frequency response that harmonics of incredibly high frequencies could manifest in sufficient amplitude to dissociate water, given the right introductory frequency mix.
Having thus explained the nature of the equipment Keely used we now come to the second hurdle.
What frequencies did he use to disintegrate water.
The direct quote from the book "Keely and His Discoveries" by Bloomfield Moore, published in 1893:
"…………….The acceleration of these orders is governed by the introductory impulse on a certain combination of vibratory chords, arranged for this purpose in the instrument, with which Keely dissociates the elements of water, and which he calls a Liberator.
"In molecular dissociation one fork of 620 is used, setting the chords on the first octave.
"In atomic separation two forks, one of 620 and one of 630 per second; setting the chords on the second octave.
"In the etheric three forks; one of 620, one of 630, and one of 12,000; setting the chords on the third octave."
As a matter of further clarification, Keely states that you cannot DIRECTLY dissociate a single level of aggregation due to the shell structure of matter. In other words, if you wish to dissociate the Atomic level, you must first dissociate the molecular to be able to get to the atomic. That follows also if you wish to dissociate the etheric, you must disrupt the molecular AND the atomic, THEN the etheric. Keely refers to this technique as progressive dissociation.
How these frequencies have sent researchers up the garden path for over 100 years.
These frequencies are not in a harmonic relationship with each other. The create dis-harmony and beat frequencies all over the place, the very opposite of what Keely is saying.
So why did Keely give these specific frequencies?
Look at his statement again. He never said that he used them, he only said they were used to set the chords. Same thing you say. No, he is talking about something quite different.
In order to understand what Keely was doing with these three tuning forks we must gain an understanding of his "vibratory microscope".
KEELY'S FABLED VIBRATORY MICROSCOPE
Hans von Lieven, copyright