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Granite Grey, black, browns, reds, greens, blue-grey Very Hard X
Limestone Grey, buff, variegated grey/buff Soft
RESPIRATOR NOT REQUIRED
( great when you are underground and the RESPIRATOR hasn't been invented yet
hard to sing in tune when you have swallowed a few lbs of rock dust
reply to post by burntheships
Seems they knew more than we can imagine, about sound/vibration/frequency
and our brains.
The hypothalamus (from Greek ὑπό = under and θάλαμος = room, chamber)
reply to post by Harte
That was taken from a source material, and its not what the thread is
The Greeks probably used limestone
your guess. But nice drive by you missed the OP entirely,
if you imagine the design of the temple and the acoustic
properties were also happenstance you welcome to your ideas.
Obviously, you can't provide a source because limestone has no such special acoustic properties.
I have a couple of songs I wrote that put beers on the table every time I play them
only I didn't write them, they were gifts
they came to me fully written
The prosperity brought by the Asklepieion enabled Epidaurus to construct civic monuments too: the huge theatre that delighted Pausanias for its symmetry and beauty, which is used once again for dramatic performances, the ceremonial Hestiatoreion (banqueting hall), baths and a palaistra. The theater was designed by Polykleitos the Younger in the 4th century BC. The original 34 rows were extended in Roman times by another 21 rows. As is usual for Greek theatres (and as opposed to Roman ones), the view on a lush landscape behind the skênê is an integral part of the theatre itself and is not to be obscured. It seats up to 15,000 people.
The theatre is marveled for its exceptional acoustics, which permit perfect intelligibility of unamplified spoken word from the proskenion or skênê to all 15,000 spectators, regardless of their seating (see Ref., in Greek). Famously, tour guides have their groups scattered in the stands and show them how they can easily hear the sound of a match struck at center-stage. A 2007 study by Nico F. Declercq and Cindy Dekeyser of the Georgia Institute of Technology indicates that the astonishing acoustic properties may be the result of the advanced design: The rows of limestone seats filter out low-frequency sounds, such as the murmur of the crowd, and amplify high-frequency sounds from the stage. 
edit on 23-2-2014 by burntheships because: (no reason given)
The acoustic properties within the Hypogeum have already been studied extensively. It was found by Maltese composer Ruben Zahra and a research team from Italy that sound resonates at 110 Hz within the Oracle chamber, and this matches the same or similar frequency that has been found in many other ancient chambers around the world, including Newgrange in Ireland.
According to Dr Robert Jahn from Princeton University, it may be the dimensions of the room or the quality of the stone that determines the exact pitch of this echo behaviour. :
Now, researchers at the Georgia Institute of Technology have discovered that the limestone material of the seats provide a filtering effect, suppressing low frequencies of voices, thus minimizing background crowd noise. Further, the rows of limestone seats reflect high-frequencies back towards the audience, enhancing the effect.
Researcher Nico Declercq, a mechanical engineer, initially suspected that the slope of the theater had something to do with the effect.
"When I first tackled this problem, I thought that the effect of the splendid acoustics was due to surface waves climbing the theater with almost no damping," Declercq said. "While the voices of the performers were being carried, I didn't anticipate that the low frequencies of speech were alsofiltered out to some extent."
However, experiments with ultrasonic waves and numerical models indicated that frequencies up to 500 hertz (cycles per second) were lowered, and frequencies higher than 500 hertz went undiminished, he said.
Sound scientist, Prof. Daniel Talma of the University of Malta explains: “At certain frequencies you have standing waves that emphasize each and other waves that de-emphasize each other. The idea that it was used thousands of years ago to create a certain trance – that’s what fascinates me.”
Newgrange: Primary Resonance 110 Hz
Previous archaeoacoustic investigations by Robert Jahn have examined the acoustic properties of a sample of chambered prehistoric (primarily Neolithic) megalithic structures in England and Ireland, including the major passage of Newgrange, Ireland (constructed c.3200 BC). These structures were found to exhibit a common acoustic property: all were characterized by primary resonance frequencies in the 95–120 Hz range, with most at 110–112 Hz.
Notably, the central chamber of Newgrange, the largest and most architecturally sophisticated of the sites tested in that work, displayed a primary resonance frequency of 110 Hz. In some cases, fairly massive stones had been placed at particular locations within the chambers apparently to adjust their physical properties and yield these resonant properties. One suggestion has been that cavity resonance may have been designed to support human ritual chanting, because the resonance frequency lies within the human vocal range.
edit on 23-2-2014 by burntheships because: (no reason given)
A consortium called The PEAR Proposition: Princeton Engineering Anomalies Research are pioneers in the field of archaeo-acoustics, merging archaeology and sound science. Directed by Physicist Dr. Robert Jahn, the PEAR group set out in 1994 to test acoustic behavior in megalithic sites such as Newgrange and Wayland's Smithy in the UK. They found that the ancient chambers all sustained a strong resonance at a sound frequency between 95 and 120 hertz: well within the range of a low male voice.
In subsequent OTSF testing, stone rooms in ancient temples in Malta were found to match the same pattern of resonance, registering at the frequency of 110 or 111 hz. This turns out to be a significant level [right] for the human brain. Whether it was deliberate or not, the people who spent time in such an environment were exposing themselves to vibrations that impacted their minds.
Sound scientist, Prof. Daniel Talma of the University of Malta explains: "At certain frequencies you have standing waves that emphasize each and other waves that de-emphasize each other. The idea that it was used thousands of years ago to create a certain trance -- thatâ€™s what fascinates me."
Dr. Ian A. Cook of UCLA and colleagues published findings in 2008 of an experiment in which regional brain activity in a number of healthy volunteers was monitored by EEG through different resonance frequencies.
Findings indicated that at 110 hz the patterns of activity over the prefrontal cortex abruptly shifted, resulting in a relative deactivation of the language center and a temporary switching from left to right-sided dominance related to emotional processing. People regularly exposed to resonant sound in the frequency of 110 or 111 hz would have been "turning on" an area of the brain that bio-behavioral scientists believe relates to mood, empathy and social behavior.
when i am doing live sound I balance the rig with a 31 band eq
every room is different just as the limestone reacts a certain way temperature changes things
Malta’s geological structure permitted the use of two types of limestone for construction purposes: (1) thehard, grey, upper-coralline limestone; and (2) the soft, pale, globigerina limestone. By exploiting naturalfissures and crevices in the rock, the early Maltese builders managed to break off megaliths using primitivetools. These included hand-axes fashioned from imported flint, knives chiselled from imported obsidian,wooden wedges and levers, stone wedges and hammers. The soft globigerina limestone was adopted forthe more
refined, masonry work
The oldest layer, the lower coralline limestone, is made up mainly of reef-forming organisms such as calcareous algae and coral, where one is more likely to find bivalve seashells. At the very top of the lower coralline limestone layer is a shallow but very concentrated layer of large flat sea urchins.www.timesofmalta.com...
The Fibonacci series of tuning forks create a perfect sonic spiral like the picture of a seashell. Dr. John Beaulieu created the tuning forks based on the ratios of the Fibonacci sequence. The first four tuning forks come from Pythagorean intervals (Solar Harmonic Tuning Forks) and represent the ratios as well as notes, but the other four are microtonal and just expressed as ratios. Just like a visual spiral gets smaller and smaller, the sounds of each fork played in succession get closer and closer together. I think of the ratios as microtones between G and A with the entry point being the perfect fifth.www.askaudiomag.com...
Sound waves spinning around the head cause brainwave entrainment, at aprox 3 to 12 cycles per second...
facilitating a relaxed suggestible state...this is built into many a mathmatical temple and cathedral....
its pythagorean math but that is the explanation for something in use already...
I used to have a program that would slice up a recorded conversation into single words and then randomize them and it would then spit out the remixed audio
in the random sounds phrases would appear which related to the question being asked
these would be like random echoes coming from all those surfaces and you would hear your answer in them
the program's name had something to do with the term EVP, and is related to the term reverse speach which also produces telling phrases...
edit on 22-2-2014 by Danbones because: (no reason given)