Everything has a frequency

Additional Information

 Electromagnetic Spectrum

Very Low Frequency (VLF)

Very Low Frequency (VLF)

(3kHz - 30kHz)

Dynamic Spectrograph of a VLF "Whistler".

Low Frequency (LF)

Low Frequency (LF)

(30kHz - 300kHz)

STEREO/WAVES (SWAVES) uses radio imaging to study coronal mass ejections.

Medium Frequency (MF)

Medium Frequency (MF)

(300kHz - 3000kHz)

Non-Directional Beacons utilize Medium Frequency radio frequencies to deliver directional information to aircraft. NASA and the FAA are working together to improve non-directional beacon technology.

High Frequency (HF)

High Frequency (HF)

(3MHz - 30MHz)

Also called “short wave” and used for long distance communications; NASA uses HF at test ranges.

Very High Frequency (VHF)

Very High Frequency (VHF)

(30MHz - 300MHz)

NASA utilizes the VHF band by airborne sensors to study the thickness of sea ice.

Ultra High Frequency (UHF)

Ultra High Frequency (UHF)

(300MHz - 3000MHz)

NASA astronauts use UHF systems as backups for their voice communication systems.

NASA also used these frequencies to remotely sense the Earth’s surface (e.g. soil moisture with the SMAP mission) and atmosphere.

Super High Frequency (SHF)

Super High Frequency (SHF)

(3GHz - 30GHz)

Numerous NASA and NOAA missions use these frequencies to probe the Earth’s atmosphere and surface.  The TRMM and GPM missions observe the structure of rain in 3 dimensions.

Tracking and Data Relay Satellite (TDRS)

Tracking and Data Relay Satellite (TDRS)

S band (2-4 GHz)
Ku-Band (12-18 GHz)
Ka-band (27-40 GHz)

The current configuration consists of nine in-orbit satellites (four first generation, three second generation and two third generation satellites) distributed to provide near continuous information relay service to missions like the International Space Station (ISS).

Extremely High Frequency (EHF)

Extremely High Frequency (EHF)

(30GHz - 300GHz)

Numerous NASA and NOAA missions can use these frequencies to probe the Earth’ surface, although they primarily are used to probe the atmosphere.

Infrared (IR)

Infared (IR)

(.003 - 4 x 10^14 Hz)

The GOES satellites use infrared technology to view and track hurricane paths.

Visible

Visible

(4 - 7.5 x 10^14 Hz)

Terra uses the visible light spectrum to take true color images of the Earth and its features.

Ultraviolet (UV)

Ultraviolet (UV)

(7.5 x 10^14 - 3 x 10^16 Hz)

The Solar and Heliospheric Observatory is studying the sun- from its core to its outer corona to its outer wind.

X-Ray

X-Ray

(3 x 10^16Hz - Upward)

The GOES satellites use an X-ray imager (SXI) to photograph and study the sun.

Gamma Ray/Cosmic Ray

Gamma Ray/Cosmic Ray

SCaN does not use Gamma Rays or Cosmic Rays to study the universe, but it uses X-Rays to study Gamma Rays and Cosmic Rays.

The electromagnetic spectrum is comprised of all frequencies of electromagnetic radiation that propagate energy and travel through space in the form of waves. Longer wavelengths with lower frequencies make up the radio spectrum. Shorter wavelengths with higher frequencies make up the optical spectrum. The portion of the spectrum that we can see is called the visible spectrum, however, NASA utilizes a number of tools that allow us to communicate and create images utilizing almost every single component of the electromagnetic spectrum in one way or another.

› Radio Spectrum
› Optical Spectrum

› Spectrum Summary

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An artist's conception of the localization of Fast Radio Burst 180916.J0158+65 to its host galaxy.

For more than a decade, astronomers across the globe have wrestled with the perplexities of fast radio bursts — intense, unexplained cosmic flashes of energy, light years away, that pop for mere milliseconds. 

Despite the hundreds of records of these enigmatic sources, researchers have only pinpointed the precise location of four such bursts. 

Now there’s a fifth, detected by a team of international scientists that includes West Virginia University researchers. The finding, which relied on eight telescopes spanning locations from the United Kingdom to China, was published Monday (Jan. 6) in Nature

There are two primary types of fast radio bursts, explained Kshitij Aggarwal, a physics graduate student at WVU and a co-author of the paper: repeaters, which flash multiple times, and non-repeaters, one-off events. This observation marks only the second time scientists have determined the location of a repeating fast radio burst. 

But the localization of this burst is not quite as important as the type of galaxy it was found in, which is similar to our own, said Sarah Burke-Spolaor, assistant professor of physics and astronomy and co-author. 

“Identifying the host galaxy for FRBs is critical to tell us about what kind of environments FRBs live in, and thus what might actually be producing FRBs,” Burke-Spolaor said. “This is a question for which scientists are still grasping at straws.”

Burke-Spolaor and her student, Aggarwal, used the Very Large Array observatory in New Mexico to seek pulsations and a persistent radio glow from this burst. Meanwhile, Kevin Bandura, assistant professor of computer science and electrical engineering, and third WVU co-author of the article, worked on the Canadian Hydrogen Intensity Mapping Experiment team that initially detected the repeating fast radio burst. 

“What’s very interesting about this particular repeating FRB is that it is in the arm of a Milky Way-like spiral galaxy, and is the closest to Earth thus far localized,” Bandura said. “The unique proximity and repetition of this FRB might allow for observation in other wavelengths and the potential for more detailed study to understand the nature of this type of FRB.”

Using a technique known as Very Long Baseline Interferometry, the team achieved a level of resolution high enough to localize the burst to a region approximately seven light years across – a feat comparable to an individual on Earth being able to distinguish a person on the moon, according to CHIME.

With that level of precision, the researchers could analyze the environment from which the burst emanated through an optical telescope.

What they found has added a new chapter to the mystery surrounding the origins of fast radio bursts. 

This particular burst existed in a radically different environment from previous studies, as the first repeating burst was discovered in a tiny “dwarf” galaxy that contained metals and formed stars, Burke-Spolaor said.

“That encouraged a lot of publications saying that repeating FRBs are likely produced by magnetars (neutron stars with powerful magnetic fields),” she said. “While that is still possible, the fact that this FRB breaks the uniqueness of that previous mold means that we have to consider perhaps multiple origins or a broader range of theories to understand what creates FRBs.”

At half-a-billion light years from Earth, the source of this burst, named “FRB 180916,” is seven times closer than the only other repeating burst to have been localized, and more than 10 times closer than any of the few non-repeating bursts scientists have managed to pinpoint. Researchers are hopeful that this latest observation will enable further studies that unravel the possible explanations behind fast radio bursts, according to CHIME. 

WVU has remained at the research forefront of fast radio bursts since they were first discovered in 2007 by a team right here at the University that included Duncan Lorimer and Maura McLaughlin, physics professors, and then-student David Narkevic. The trio discovered fast radio bursts from scouring archived data from Australia’s Parkes Radio Telescope. 

Citation

Title: A repeating fast radio burst source localized to a nearby spiral galaxy 

Link:  https://doi.org/10.1038/s41586-019-1866-z

-WVU-

js/01/06/2020

CONTACT: Jake Stump
Director, WVU Research Communications
304.293.5507; jake.stump@mail.wvu.edu

Call 1-855-WVU-NEWS for the latest West Virginia University news and information from WVUToday.

Follow @WVUToday on Twitter.

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This information was found on WVUtoday website. for more information click the link below.

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   Understanding Frequencies: How to Describe What You're Hearing to Your Sound Tech


Understanding Frequencies: How to Describe What You're Hearing to Your Sound Tech

Recording, Angry Sound Guy, Performing, Honing Your Craft

Dec 17, 2014 09:00 AM

Aaron Staniulis

frequenciesImage via dvdyourmemories.com

A highly relatable tale: You're onstage during soundcheck or in the studio, and you find yourself trying to describe a sound to the engineer in charge of whatever you're working on. It's at that point you find yourself at a loss for words on how to describe that high-pitched, squealy thingy the synth is making, or that flabby, meedley-deedley sound from the guitar. How do you put into words that thing that defies description, or perhaps even defies imitation? This quick guide is your crash course to the world of sounds, and how to refer to them and talk about them.

What is a frequency?

Usually, when we describe sounds in the audio world and talk about where they reside in pitch (low to high), we refer to them in terms of their frequency. Sound is a wave, a movement of air molecules that our brain translates into sound through a surprisingly complicated series of workings within our ears. These waves can be measured by how many times they complete a cycle in a second. (Is that day in high school physics class starting to come back to you now?) We measure these cycles per second in a unit of measurement called hertz (Hz). In music, particularly in tuning, we refer to the reference pitch A440, which is 440 Hz. This is the note that produces a vibration that cycles at 440 times per second.

So, now that we know what these numbers and notes mean, where do we go from here?


The range of human hearing

The widely accepted range of human hearing stretches from 20 Hz all the way up to 20,000 Hz (or 20k Hz). While most of us are born with this range, most adults actually have a range of 20 Hz to 15k or 16k Hz (barring no high-frequency-specific hearing loss). This sounds astronomical still, but the scale of frequencies doesn’t divide itself evenly. For example, to go up an octave, you need to double the frequency; to go down an octave, you need to halve the frequency. The A above middle C on the piano is 440 Hz, and the A the next octave above is 880 Hz, but the A the octave below middle C is 220 Hz. This means that there's only one octave of notes (12 half-steps) between 10,000 Hz and 20,000 Hz, yet also only an octave between 80 Hz and 160 Hz.

Now we know how we measure sounds, and what the playing field is for what we can hear. But how do we describe these sounds?

20 to 80 Hz

This range is your true low end. The bottom half of this range (20 Hz to 40 Hz) is more felt than heard. In this range, it can be very hard to discern a true pitch. Most speaker systems, even high-end studio monitors, don't even produce sound accurately in this range, if at all. For reference, an Imperial Bosendorfer extended grand piano starts at the note F0 (21.8 Hz fundamental) and your normal concert grand starts at A0 (27.5 Hz fundamental) – and even those notes are hard to tune at their fundamental. The upper half (40 Hz to 80 Hz) is where the lowest note of the four-string bass (fundamental E at 41 Hz) comes into play. This is that rumbly bottom end you feel in your chest when you hear it.

80 to 160 Hz

This is where we enter what is commonly considered the bass range. Around 80 to 120 Hz is where most consumer-grade mixers with fixed EQ points and home stereos set their "low" band. We now see the guitar enter the spectrum here (low E string in standard tuning is 82.5 Hz fundamental), and the bass actually begins its exit at its fundamental pitch (G string open fundamental is 98 Hz). This range, when boosted, is where things can feel boomy or thumpy, but also adds warmth. For example, that big kick you feel in a dance club when the beat is thumping away tends to live around 100 to 120 Hz. Not enough in this range on low-end instruments (bass, kick drum, piano, synths) can lead to them feeling thin and anemic. Really powerful, rumbling, low-sounding feedback from monitors in a stage setting tends to live in this range.


Understanding Frequencies: How to Describe What You're Hearing to Your Sound Tech

Recording, Angry Sound Guy, Performing, Honing Your Craft

Dec 17, 2014 09:00 AM

Aaron Staniulis

frequenciesImage via dvdyourmemories.com

A highly relatable tale: You're onstage during soundcheck or in the studio, and you find yourself trying to describe a sound to the engineer in charge of whatever you're working on. It's at that point you find yourself at a loss for words on how to describe that high-pitched, squealy thingy the synth is making, or that flabby, meedley-deedley sound from the guitar. How do you put into words that thing that defies description, or perhaps even defies imitation? This quick guide is your crash course to the world of sounds, and how to refer to them and talk about them.

What is a frequency?

Usually, when we describe sounds in the audio world and talk about where they reside in pitch (low to high), we refer to them in terms of their frequency. Sound is a wave, a movement of air molecules that our brain translates into sound through a surprisingly complicated series of workings within our ears. These waves can be measured by how many times they complete a cycle in a second. (Is that day in high school physics class starting to come back to you now?) We measure these cycles per second in a unit of measurement called hertz (Hz). In music, particularly in tuning, we refer to the reference pitch A440, which is 440 Hz. This is the note that produces a vibration that cycles at 440 times per second.

So, now that we know what these numbers and notes mean, where do we go from here?

The range of human hearing

The widely accepted range of human hearing stretches from 20 Hz all the way up to 20,000 Hz (or 20k Hz). While most of us are born with this range, most adults actually have a range of 20 Hz to 15k or 16k Hz (barring no high-frequency-specific hearing loss). This sounds astronomical still, but the scale of frequencies doesn’t divide itself evenly. For example, to go up an octave, you need to double the frequency; to go down an octave, you need to halve the frequency. The A above middle C on the piano is 440 Hz, and the A the next octave above is 880 Hz, but the A the octave below middle C is 220 Hz. This means that there's only one octave of notes (12 half-steps) between 10,000 Hz and 20,000 Hz, yet also only an octave between 80 Hz and 160 Hz.

Now we know how we measure sounds, and what the playing field is for what we can hear. But how do we describe these sounds?

20 to 80 Hz

This range is your true low end. The bottom half of this range (20 Hz to 40 Hz) is more felt than heard. In this range, it can be very hard to discern a true pitch. Most speaker systems, even high-end studio monitors, don't even produce sound accurately in this range, if at all. For reference, an Imperial Bosendorfer extended grand piano starts at the note F0 (21.8 Hz fundamental) and your normal concert grand starts at A0 (27.5 Hz fundamental) – and even those notes are hard to tune at their fundamental. The upper half (40 Hz to 80 Hz) is where the lowest note of the four-string bass (fundamental E at 41 Hz) comes into play. This is that rumbly bottom end you feel in your chest when you hear it.

80 to 160 Hz

This is where we enter what is commonly considered the bass range. Around 80 to 120 Hz is where most consumer-grade mixers with fixed EQ points and home stereos set their "low" band. We now see the guitar enter the spectrum here (low E string in standard tuning is 82.5 Hz fundamental), and the bass actually begins its exit at its fundamental pitch (G string open fundamental is 98 Hz). This range, when boosted, is where things can feel boomy or thumpy, but also adds warmth. For example, that big kick you feel in a dance club when the beat is thumping away tends to live around 100 to 120 Hz. Not enough in this range on low-end instruments (bass, kick drum, piano, synths) can lead to them feeling thin and anemic. Really powerful, rumbling, low-sounding feedback from monitors in a stage setting tends to live in this range.

Quote_blogPeople who are new to thinking of sound in terms of frequencies think low frequencies are actually lower than they are and high frequencies are higher than they are.

160 to 500 Hz

We actually cover a lot of ground in this range. A lot of people who are new to thinking of sound in terms of frequencies think low frequencies are actually lower than they are and high frequencies are higher than they are. In this range, we see the guitar start to disappear at its fundamental frequency (high E string open fundamental is 330 Hz). But 200 to 250 Hz is a double-edged sword; this is where things can sound really warm and sweet, but too much and you get that muddy feeling, like when you have a cold and your voice sounds muffled in your own head. Simply said, a build-up of 200 Hz is a head cold. Above this, 250 to 500 Hz is where things can sound boxy (yes, this is a commonly accepted term). Imagine the woody ring when you hit or knock on a hollow box. It's not as low and muddy as the "head cold," but it's similar. This is where you're looking for issues with that.

500 to 1.6k Hz

We're now entering mids to upper-mids territory in the consumer EQ sense. The guitar is completely out at its fundamental pitch, with the highest of frets being around 900 Hz. This 500 to 900 Hz range is where too much can make things honky or nasal. The audio aid for this range is the teacher from the Charlie Brown cartoons. That feeling you get with that "wha wha" sound is what a build-up in this band will feel like. Above this is where you find sounds that start to get more pointed and sharp-sounding – for example, the sound that goes along with the TV test pattern (imagine your local public access channel when it's off the air). Well, the sound that accompanies that, the "beeeeeep," is a pure sine wave at 1,000 Hz. So if you hear something that brings that same irritation with it, or feedback that sounds close in pitch to it, you're now somewhere in the 1k Hz to 1.6k Hz range.

1.6 to 4k Hz

This range is where the "presence" in the human voice lies. If things sound dull or flat, a boost around this range (usually around 3k Hz) will liven them up. However, we find the Goldilocks scenario that all sound techs live with: too much of a boost in this range, and sounds become harsh and edgy. We also finally lose the fundamental pitches of the piano here, with the highest of keys usually checking out at around 4k Hz. That same presence element we find in the human voice also lies here in guitars as well, often competing for the same sonic territory. There's a reason lead vocalists and lead guitarists tend to feel at odds with each other not only for stage presence, but also for the same sonic space.

4 to 10k Hz

Welcome to the high end of things. Our home hi-fi and consumer high EQs hang out somewhere up here. (Remember, we're only dealing with about an octave in this range.) Sounds up here tend to be of the hiss and squeal variety – you know, the painful kinds. Sibilants like the S's of words are what tend to live in this range. Without them, things sound undefined or lack a certain crispness. The sizzle from cymbals and other percussion is present around 7k Hz to 10k Hz. Shrieking, piercing feedback, or a real crunchy, tinny quality to sounds can be addressed in this band.

10k Hz and beyond

These are the extreme highs. This is where frequency response starts to experience dropouts like it did in the low end, but for the opposite reasons. Sometimes it's because the transducer of a microphone may not be able to accurately respond to these frequencies, but sometimes it's because people can literally not hear things going on in this range. (High-end hearing in this realm is usually the first to go.) These frequencies can best be described as "air." That heady, open quality to a sound usually results from good representation of overtones in this range. Now, before you go pegging out all your EQs at 10 to 12k Hz to add airiness, also understand that simply boosting this range won't give you anything but noise if nothing exists there to begin with. For example, jingle a set of car keys. That really crispy, bell-like quality of the keys hitting one another is what we refer to in this air range. Can’t hear it? Don't worry, I know a number of incredible mix engineers who I'm nearly positive are deaf to anything above 14k Hz, and they still do incredible work. (The science behind why that's the case is actually incredibly complex, and I already fear I may have passed the saturation point for most Twitter-generation audiences... so perhaps in another post.)

I hope that this breakdown will begin to help you describe what you hear and define how you hear it. At the very least, you may now understand why some sound techs roll their eyes at you when you ask for more "highs" in your monitor mix – it's not actually that simple.

Aaron Staniulis is not only a freelance live sound and recording engineer, but also an accomplished musician, singer, and songwriter. He has spent equal time on both sides of the microphone working for and playing alongside everyone from local bar cover bands to major label recording artists, in venues stretching from tens to tens of thousands of people. Having seen both sides at all levels gives him the perfect perspective for shedding light on the "Angry Sound Guy." You can find out more about what he’s up to at aaronstaniulis.com.


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Natural Frequencies

Tuning in to the Earth’s Natural Rhythm

   More than 3.5 billion years ago, life first arrived on this planet, a planet that had a natural frequency. As life started to evolve, it did so surrounded by this frequency. So, unsurprisingly, it began tuning in. When human beings came to the Earth, an incredible relationship was sparked, a relationship that science is just beginning to understand.


Do you feel generally happier and more peaceful when you’re out in nature, away from noise, traffic jams, and neon lights? It is not just that you left the city behind. Or that you’re a person who likes nature. In nature, your body more easily tunes into the Earth’s frequency and can restore, revitalize, and heal itself more effectively.

The Earth behaves like a gigantic electric circuit. Its electromagnetic field surrounds and protects all living things with a natural frequency pulsation of 7.83 hertz on average — the so-called “Schumann resonance,” named after physicist Dr. Winfried Otto Schumann, who predicted it mathematically in 1952.

This frequency circulates in the cavity bounded by the Earth’s surface and the ionosphere, surrounding the Earth at a distance of about 60 miles. Such space is filled with an electrical tension created by the clashing of the ionosphere, which is positively charged by the sun (solar winds), and the Earth’s surface, which carries a negative charge. We can think of it like the Earth’s pulse or heartbeat.

Interestingly, 7.83 hertz is also the human brain’s average alpha frequency in electroencephalography. Among the five main categories of brain waves, alpha waves, which stand in the middle of the scale, induce relaxation but not quite meditation — a state where we begin to tap into the wealth of creativity that lies just below our conscious awareness.

So, what is interesting about this relationship? As researchers look deeper into it, it turns out that tuning our brain waves to the planet’s pulse is not only healthful (as is tuning out, unhealthful) for us but it might be connected to the beginning of life itself.

One of the main researchers on this topic, Dr. Wolfgang Ludwig, discovered that while the Earth’s vibration could be clearly measured in nature and in the ocean, it was almost impossible to measure in the city, where manmade signals such as radios, TVs, cars, buildings, phones, and the like override natural signals. He began thinking that this could have large implications on human well-being. With this idea in mind, Ludwig invented something thinking of his mother, who suffered frequently of Foehn symptoms, caused by certain weather phenomena such as low pressure and high winds. Her symptoms were often so strong that she had absolutely no energy and could hardly move. In 1974, Ludwig created a small magnetic pulser, imitating the Earth’s magnetic fields. It was a small hand-held box, which emitted the Schumann frequency of 7.83 hertz. Then, something amazing happened — as soon as his mother applied the device to her solar plexus or on the back of her neck, the symptoms disappeared.


It was then suggested by Australian electrical engineer Lewis B. Hainsworth, among others, that human health is related to geophysical parameters, and that variations in these naturally occurring patterns can produce mild to disastrous health and behavioral changes in human beings. “In particular, the alpha brain rhythm is so placed that it can in no circumstances suffer an extensive interference from naturally occurring signals,” Hainsworth asserted.

He and others later documented this relationship in different experiments. Notably, Professor R. Wever from the Max Planck Institute for Behavioral Physiology in Erling-Andechs, built an underground bunker that completely screened out magnetic fields. Between 1964 and 1989, this bunker was used to conduct 418 studies in 447 human volunteers. Student volunteers lived for four weeks in this hermetically closed environment. Professor Wever observed that the students’ circadian rhythms diverged and that they suffered emotional distress and migraine headaches. Since they were young and healthy, no serious health conditions appeared, but older people or people with a weak immune system would have probably had a different response. After only a brief exposure to 7.83 hertz (the frequency which had been taken out), the volunteers’ health stabilized again. The first astronauts and cosmonauts who, out in space, were no longer exposed to the Schumann waves reported similar symptoms.

Electromagnetic fields may be perceived as dynamic entities that cause other charges and currents to move, and are also affected by them. Because electromagnetic fields embody or store patterns of information, they become a connecting bridge between matter and resonant patterns. It is possible that the Shuman resonance signals, the natural electromagnetic patterns of the Earth, act like a tuning fork not just for the biological oscillators of the brain but for all processes of life.

The bridge that connects resonances and brain frequencies resides in our DNA helix, which has developed for millions of years in the Earth’s environment. Dr. Luc Antoine Montagnier, who won the Nobel Prize in physiology and is known for his discovery of the human immunodeficiency virus, discovered something that could give a clue as to how this happens. Although not entirely satisfactory to the research community, his experiments touch upon a fundamental question about our DNA, the nature of life itself and the frequency of the planet.

All life comes from life. This is a principle that was never shown to be questionable in any scientific testing. But astonishingly, Montagnier’s experiments put a question mark on it.


The mechanism for creating life has always been understood as a material one — for example, egg and sperm, or spore and cell division. Montagnier’s experiments showed that DNA sequences communicate with one another in water by emitting low-frequency electromagnetic waves. Even when DNA was kept in separate test tubes, there was communication or “cross-talk,” in the words of Montagnier. They were able to organize nucleotides — the ingredients that make up DNA — into new DNA. Initially, this happened only when there was previous DNA. But a remarkable feature of Montagnier’s experiments is that even when the original DNA had been filtered from the water, new DNA was still being created, a copy with 98 percent accuracy. Life appeared to be created not by the immediate presence of a material substance but over a lapse of time, in connection with a signal detectable by an electromagnetic device. That signal was not just any signal but a signal with a frequency of 7.83 hertz. Only when frequency 7.83 hertz was present, new life would occur. Montagnier’s experiment suggested that DNA can be somehow revived.

Solid research shows that everything alive responds to the subtlest changes in the magnetic and electromagnetic fields surrounding it. With all the vibration frequencies caused by the superaccelerated technological developments of our time, it looks like we may be creating an environment that is out of tune with nature itself. For some of us, this awareness might cause some stress about all the electronic devices in our lives and how they relate to our health and overall well-being. Others might go out and buy apparatuses invented to counterbalance those energies, wondering if technology is the key to solving the problems caused by technology itself. But here is a — perhaps more positive and useful — thought that Montagnier’s experiments helped provoke: It is possible that we are able to actively tune into that natural frequency and use all other manmade frequencies to amplify it and create new life.

Learn More

This information was found on brain world magazine. Click bellow to view their site.

Video

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Tesla was right, everything has it's own frequency 

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Resonance: Beings of Frequency (FULL DOCUMENTARY) 

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Frequencies link to

Link UFO-UAP

Link UFO-UAP

Link UFO-UAP

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 The Ultra High Frequency Follow-On (UFO) system is a United States Department of Defense (DOD) program sponsored and operated by the U.S. Navy to provide communications for airborne, ship, submarine and ground forces. The UFO constellation replaced the U.S. DOD Fleet Satellite Communications System (FLTSATCOM) constellation and will consist of eleven satellites.

Link TV

Link UFO-UAP

Link UFO-UAP

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  the frequencies assigned to broadcast television channels in various regions of the world, along with the ITU letter designator for the system used. The frequencies shown are for the analogue video and audio carriers.The channel itself occupies several megahertz of bandwidth.For example, North American channel 2 occupies the spectrum from 54 to 60 MHz.

Link Tesla

Link UFO-UAP

Link Robotics

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Tesla was able to transmit power and energy wirelessly over long distances (via transverse waves and longitudinal waves). He transmitted extremely low frequencies (ELF) through the ground and between the Earth's surface and the Kennelly-Heaviside layer of the ionosphere. 

Link Robotics

Link Networking

Link Robotics

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 The resonant frequencies of robots with different lengths were approximately evaluated both analytically and experimentally and discussed in section S4 and figs. S7 and S8. In general, robots with smaller lengths have higher resonant frequencies and faster relative speeds.

Link Networking

Link Networking

Link Networking

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 When working with wireless networks, your neighbors may interfere with your network by generating traffic on the same radio frequencies you are using, or by using devices that encroach on the frequencies that you are using. This issue is especially true when using unlicensed radio frequency (RF) bands

Link Music

Link Networking

Link Networking

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(1.3) Amplitude and Frequency. There are two main properties of a regular vibration - the amplitude and the frequency - which affect the way it sounds. Amplitude is the size of the vibration, and this determines how loud the sound is. We have already seen that larger vibrations make a louder sound.

Link Mind

Link Meditation

Link Meditation

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 By understanding your brainwave frequencies, you can learn to hack your mind. Day to day, the brain operates at frequencies of between 0.5Hz, and 90Hz, which are broken down into categories ranging from the deep sleep delta state, all the way up to the hyper-alert gamma state.

Link Meditation

Link Meditation

Link Meditation

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 Vibration is everything. And every vibration has its own frequency. By exposing the mind and body to the Solfeggio frequencies, you can easily achieve a greater sense of balance and deep healing. The Solfeggio frequencies align you with the rhythms and tones that form the basis of the Universe.

Link light

Link Meditation

Link Holograms

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 Of visible light, violet has the most energy and red the least. The whole range of frequencies and energies, shown in the accompanying figure, is known as the electromagnetic spectrum. Note that the figure isn't drawn to scale and that visible light occupies only one-thousandth of a percent of the spectrum.

Link Holograms

Link Free Energy

Link Holograms

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 Holograms are made using lasers because laser light is "coherent." What this means is that all of the photons of laser light have exactly the same frequency and phase difference. Splitting a laser beam produces two beams that are the same color as each other (monochromatic).

Link Hacking

Link Free Energy

Link Free Energy

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 This inventive hack can transform any device or hardware, let's say printer or scanner, connected to the Internet - part of the Internet of Things (IoT) - into a radio frequency transmitter capable of transmitting data out of a computer network, by using unnoticeable sound waves, over to an AM radio receiver located short distance away.

Link Free Energy

Link Free Energy

Link Free Energy

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 The Power of Frequency and Vibration Nikola Tesla was a genius. He held over 700 patents for inventions that are the key components to most gadgets we use today. Tesla was quoted saying: "If you want to find the secrets of the universe, think in terms of energy, frequency and vibration." Another world famous genius agrees.