A medieval Schumann resonance amplifier

Here is proof that music tuned to A-432 using my 81-AET temperament is uniquely synchronous with both Rosslyn chapel and the Schumann ELF frequencies (Earth resonance). Indeed, Rosslyn chapel appears to be a 9X amplifier for Schumann resonance.

1) We know that Rosslyn is 81 feet long and half this wide.

2) The speed of sound inside the chapel at 12 degrees celsius (the constant temperature taken from the Rosslyn website) can be calculated as 1110.8000527 or about 1111 feet per second in dry air.

3) At 1111.1111 fps, sound will travel 123.456790 feet in one-ninth of a second. Note: this happens to be exactly Rosslyn's height to width ratio times 10,000 (68/40.5 = 0.012345679). It is also the square of 11.1111.

4) As a result, the frequency 432Hz will vibrate 48 times in one-ninth of a second as it travels 123.45679 feet inside the chapel.

5) During the same one-ninth of a second, the double octave harmonic of the Schumann resonance frequency 53.3333333Hz vibrates 5.925925926 times and travels exactly 1,000 feet inside the chapel.

6) So, in one second the Earth resonates a factor of 1000 / 123.45679 = 8.1 times slower than 432 Hz while covering 9,000 feet inside the chapel. This is equal to 111.111 times the length of the chapel and 555.555 times its width. (there’s that Venusian 5:1 ratio again!)

7) Conversely, a tone sounded at 432 Hz will travel 1111.1111 feet in one second or 123.45679 times the length of the chapel over a period of 9 seconds.

So, whether it was intended or not by Sinclair and Hay, Rosslyn chapel appears to act like a 9-fold amplifier for Schumann resonance when musical instruments are tuned and played in the key of A-432. Thus, the three stone "microphones" could very well amplify the three tones A, B, C if tuned to A-432 using the 81-AET temperament defined in the appendix of Interference. While this temperament is not documented anywhere and not a system used explicitly in the Middle Ages, it resembles the most ancient Chinese tuning method known called the Ling Lun based on the Huang Chung fundamental.

The thing that makes this very curious is how a 15th century designer could 1) know the speed of sound at a particular temperature and 2) have any knowledge of the Schumann resonance frequencies. The most likely answer to this is they knew harmonic science which applies to all things, but who knows?

I also find it odd that the present caretakers of Rosslyn decided to keep the temp inside the chapel at 12 degrees. One degree difference makes a big difference in how these calculations turn out. Methinks they have access to some old family secrets.