What’s Really Happening to Us? And Can “528” Save Us from Extinction?

 Introduction

When a great basketball player sees 3 seconds remaining on the game clock, and stands at the top of the key with the
score tied at 96, without time to think or pass the ball the only heroic option is to put up “a prayer.” This is done by
melding heart and ball with faith and inner vision of the shot sailing through the center of the hoop to achieve “all
net.” Thus, the ball arcs perfectly guided to the sound of a “swish.” Game over! WE WIN!

A Question of Balance

Several years ago physicist Nassim Haramein of

the Resonance Project advanced the double torroid structure of the universe based on Einstein’s field equations
expanded to include torque, spin, and velocity.  He determined a black hole runs vertically down the middle of the
spinning cosmic structure, much like the icon designed for the film “INCEPTION” shown below.

By Dec. 21, 2012, the day the Mayan calendar ends, Haramien mathematically predicted our galaxy will be
transiting the “event horizon (EH)” as graphed in Figure 1.

Figure 1. Double toroid structure of the universe with the “Event Horizon” at the top.
As though flowing freely over the edge of a waterfall, Haramein lectures that matter may shift it polarity in a nano-
instant we spin through the vortex of this “Black Hole.”

Physicists also speak of this “zone,” much like basketball players speak of being in the “zone” when they launch
their winning shots.

Almost instantly, from that “zone,” victory is manifested, and the player watched the entire “score”, and felt it
happen, before it actually happened. It routinely happens, they report, because of their “level of consciousness,”
from which they throw the ball, wherein they and the ball, and their victory, are ONE--once choice, one
INCEPTION--a real level of superhuman metaphysical creation.

Theoretically, there is a place at the heart of the universe, that mirrors every ball player’s heart--a place where the
“love of the game,” or “love of the victory,” or simply “LOVE,” takes form. The physical manifestation of the
spiritual (i.e., metaphysical) intention and passion, is at the heart of creation--the Creator’s heart, or Michael
Jordan’s heart down by 3 at “crunch time.”

The Merits of 528

The heart of this place, this “zone,” or the black hole singularity, must be “528” if it is anything. This is evidenced
by:

1)Rodin’s math finding 528 is fundamental to the musical/mathematical matrix that physicists agree exists to
manifest the universe.

2)Showell’s math confirming 528 as fundamental to ancient Pi, Phi, and the Golden Mean evident throughout
natural design.
3)528 being fundamental to sacred geometry,

4)528 being the heart of the rainbow, (greenish-yellow).

5)528 being the heart of the botanical world, and chlorophyll.

6)528 being the “MIracle” note of the original Solfeggio musical scale.

7)528 resolves to a 6, the icon for physical manifestation from either. That is, 5+2+8=15; and 1+5=6 (using
Pythagorean math). The symbol “6” reflects the “spiraling down from heaven into the wholeness of earth.”

8)Th “69” (yin/yang) symbol reflects the polarity, in which “9”, “completion” of the number set (1-9), represents
spiraling back up to the completeness of heaven.

9) superimposing the “6” and the “9” produces the image of the “8,” reflecting totality as seen in Haramei’s double
toroidal structure of the universe.

10) At the heart of the “8” is that ONE SINGLE place where the vectors of energy--positive/negative, above/below,
yin/yang, cross. This is the heart of the universe. IF NOT 528/LOVE/MIracle, which number do you suggest?

11) C(5)=528Hz on the piano is the equivalent of A=444Hz. 444 is Jesus Christ’s number according to many
investigators. Jesus, of course, was the bearer of the LOVE Gospel.

12) Double 444, and you get 888--the name for Jesus according to Greek numerology. Acoustic frequency
researchers Estes and Walton determined that a synthesizer tuned to 88.8 “makes the room spin as though you have
entered and energy vortex to another dimension.”

13) Leonardo da Vinci drew his circle about the “Vitruvian Wo/man” with nine projections; with the 3rd note, 528,
at the greenish yellow “zone” of the chakra system.
14)John Stuart Reid, an English acoustics engineer and co-inventor of the CymaScope, an instrument that makes
sound visible, photographed the sound of 528 producing, most uniquely, a 36 pointed star.
15)NASA scientists recorded the sounds coming from the Sun and Jupiter. Both recordings resonate predominantly
in 528Hz, according to comparisons made by this author and others.

16)Grandmother Drum, probably the largest drum in the world, constructed according to spiritual directions
received from Alaskan aboriginal grand-mothers, vibrates most powerfully at 528Hz, and has been associated with
remarkable “healings.” According to experts, the “Arc of the Covenant” was a drum, carries around in an ornate
solid gold box.

17)Scott Huckabay, a “guitar alchemist” plays in the 528 tuning, with LOVE, and routinely has members of his
audience experience healing.

18)Daniel Koehler, a pioneering piano manufacturer and veteran piano tuner constructed piano made with granite
bridges that far outperformed pianos, including Steinway’s grand concert pianos with wooden bridges. When he
tuned his strings to 528Hz, the powerful pianos became healing instruments.

19)Dr. Joseph Puleo proved that 528 is the 3rd note of the original Solfeggio, associated with healing “MIracles.”

20)528 appears to be the “Key to the House of David” that opens spiritual “doors” that no mortal may close. (Isaiah
22:22; Rev. 3:6-8).

21)528 is fundamental to the sacred geometry of the “Star of David,” the Carbon-6 organic chemical ring, the water
molecule and the snowflake.

22)King David played a magical healing harp, apparently tuned to the “Key to the House of David.”

Conclusion

All of these authors, mathematicians, physicists, musicians, researchers, and scientists are of sound mind. Our world
has gone “mad” because of the suppression of truth that “shall set us free” to be all that we can be, in 528Hz
frequency.

528 musical healing information and applications have been obviously suppressed. If 528 was so unimportant, why
did the Church and Temple officials suppress it?

I propose that “528” LOVE--the “Universal Healer”--is what is going to save us from going extinct.
EGYPTIAN SONICS

The foundations of many sciences were laid by the ancient Egyptians . . . but where their architects inspired by acoustical
knowledge?

by john stuart reid*

Introduction

Many of Egypt’s pyramids have chambers which are highly resonant, possibly the best examples being Snefru’s
‘Red’ Pyramid at Dahshur and Khufu’s ‘Great’ Pyramid at Giza; it is believed that both monuments were
constructed in a 47-year period, circa 2575-2528 B.C., in the 4th Dynasty (1, 2).  

Snefru, Khufu’s father, chose a 50-feet high, cathedral-like, corbelled  limestone  main chamber whilst Khufu chose
a simple rectangular, granite-lined space; granite has also been used to fashion Khufu’s  sarcophagus.

Whilst there is no evidence that these two pyramids were designed by the same architect, the disparate choices of
construction material and style were both successful in creating a long Reverberation Time (RT)  (RT is defined as
“the time taken for a sound to decay to one millionth of its original intensity.” The results below show that the
’King’s Chamber’, in  Khufu’s Pyramid, benefits from an even longer R.T. than Snefru’s main Chamber.

Snefru’s Red Pyramid (limestone main chamber):      RT = 2.72 seconds. Volume = (approx) 350 cu metres

Khufu’s Pyramid (granite- lined King’s Chamber):       RT =  4.47 seconds  Volume = 329 cu metres

The main body of data obtained from Snefru’s Red Pyramid will be the subject of a future paper, howeve

r, from the results set out above, it can be concluded that it is the granite linings of Khufu’s King’s Chamber which
are responsible for the increased RT. Such long reverberation times compare well with those found in large
cathedrals and churches, where this feature was, and is, an important element in the design, in order to enhance the
organ and choir performance.

It may be relevant that, whilst limestone was available locally at both work sites, the granite for Khufu’s King’s
Chamber had to be brought from Aswan, 500-miles south of Giza. Given the great cost and difficulty in its
acquisition, it seems likely that the architect considered the material to have some major advantage(s), including the
optimal acoustical qualities of granite. 

Textual Indicators
The following quotation from Demetrius, circa 200 B.C. suggests that purity of sound was, apparently, important in
this era and that the rendition of sound for its own sake, or for ritual purposes, was of concern to the ancient
Egyptians.(3)

‘In Egypt, when priests sing hymns to the gods, they sing the seven vowels in due succession and the sound of these
vowels has such euphony, that men listen to it instead of the flute and the lyre.’

Such ‘euphony’ would, no doubt, have been enhanced by singing in reverberative chambers, just as artificial
reverberation is an important function of sound equipment in some churches and most places of entertainment today.
Although the date of this quotation is much later than the pyramid age, it should be remembered that vowels were
considered sacred throughout ancient Egyptian history and that Late Kingdom customs invariably had their roots in
early or even pre-dynastic times.

It seems reasonable to suggest, therefore, that the ancient Egyptians of the 4th dynasty may have used vowel sound
chants as part of their ritual. However, even if their chant was not specifically vowel sound oriented, studies of
ancient Egyptian cult texts of a religious character, have revealed that, in many cases, they were intended to be sung
rather than spoken. Dr. Lise Manniche (4) provides confirmation of this, in some measure, with the following
quotation from Nikaure in the 5th dynasty:

'Instructor of the singers of the Pyramid of King Userkaf’

This title, given to Nikaure, seems to indicate that a group of singers were retained specifically to maintain song or
chant-based rituals at the pyramid of Userkaf, although whether the singers performed inside or outside the pyramid
cannot be determined without further evidence. 

Although no Critical Distance Test was carried out (the distance from a given sound source at which the level of
direct energy, reaching one’s ears, equals the level of reflected energy) speech intelligibility, even when two people
are as close as one metre apart, is extremely poor in the King’s Chamber. However, this effect works very much in
favour of chanting or singing, where continuity not intelligibility, is the prime concern. This is particularly relevant
where extended vowel sounds are employed, for example, in Gregorian Chant. 

R.A. Schwaller de Lubicz (5) believed that the ancient Egyptians used sounds, as distinct from words, in their
rituals. In the last sentence of the following passage he quotes from Corpus Hermeticum:
‘Sacred or magical language is not to be understood as a succession of terms with definite meanings...the excitation
of certain nervous centres [cause] physiological effects [which] are evoked by the utterance of certain letters or
words which make no sense in themselves.’

‘The Pharaonic texts are rich in examples of litanies playing a magical role through the repetition of sounds...and
through word play. The hieroglyphic writings allow us to confirm this although their transcription into our language
is impossible since

the pronunciation of this language is unknown...In a letter from Asklepios to King Amman [he says]:

‘As for us, we do not use simple words but sounds

all filled with power.’ 

Sonic Symbolism

Sounds created in the highly reverberant King’s Chamber may have been intended to have an energising effect on
the sarcophagus during sacred rituals that were connected with foetal symbolism. Such a possibility is based on
Professor I.E.S. Edwards’ (6) hypothesis that the sarcophagus symbolised the womb of the goddess Nut:

‘According to one of the most popular myths...the sun god Re entered the mouth of the sky goddess Nut every
evening, passed through her body and was reborn at dawn. When he died, the King was assimilated to Re and was
thought to undergo the same nightly process of gestation and rebirth as the sun-god. 

Spell 430 addresses the god in the womb thus: ‘You are restless, moving about in your mother’s womb in her name
of Nut’. 
It is particularly indicative that Djedefre, Khufu’s immediate successor, should have chosen to have an oval, not
rectangular, sarcophagus; it is really a representation of the human womb...As these texts show, the actual
sarcophagus was regarded as identical with Nut and it possessed her maternal attributes’.

When sound is generated in the King’s Chamber at its Prime Resonant Frequency (PRF),⨸ (See reference below for
definition of PRF.) the sarcophagus resonates in sympathy. This phenomenon would occur even if the PRF of the
sarcophagus was substantially different to that of the King’s Chamber but in such a case, the excitation level of the
sarcophagus would be of relatively low amplitude.

Methods, Results and Discussion

The actual PRF of the chamber (identified by the technique in which Pink Noise is generated in the space and the
resulting reflected energy is analysed) was found to be 125 Hz ±4Hz. This was later refined, by calculation, to be in
the order of 121 Hz; that of the sarcophagus was identified, using the same technique, as 117 Hz. However, the
south-east corner of the sarcophagus is severely damaged and it is, therefore, possible that it was once tuned exactly
to the chamber.♯ 

Even today, the two prime resonances are so closely matched that any powerful intonation produced in the chamber,
especially if executed at or near musical note ‘B2’ (123 Hz), causes a massive excitation of the sarcophagus, via
acoustic coupling. The similarity between the two resonant frequencies could be viewed as either coincidental or as a
possible indicator of acoustics design. 

‘In smaller rooms, where some of the dimensions are less than 10m, it is found that `the resonant frequencies
become widely spaced out at the low frequency end of the range. This is particularly so if two or more of the room
dimensions are the same, or are related by simple ratios such as 2:1 or 3:1...When widely spaced frequencies occur,
sounds [made in the room] can occasionally be strongly influenced by [such dimensions]..’(7) 

The process of tuning may not have been as difficult as one may imagine since granite is highly resonant and most
large pieces of the stone emit a clearly audible, bell-like sound when struck, albeit at low frequency. The architect
would have had access to expert stone masons who would be adept at hollowing out large blocks of stone; the
process of grinding off material to alter its ringing tone is one which was well within the limits of their known
technology. Indeed, there are clear signs of grinding on its inner walls although it is admitted that this would have
been necessary, in any event, during general finishing procedures.

However, the concept that the sarcophagus was deliberately ‘tuned’, suggests a further possibility related to
Professor Edwards’ womb hypothesis. I discovered by experiment that the pitch of sound of a new-born baby’s heart
is also centered around 125 Hz. The ancient Egyptians could easily have identified this, simply by placing an ear
against a baby’s chest, as one can do today, and then mimiced it in the resonance of the sarcophagus. Whilst this
may seem unlikely, there are two further items which lend some support for this concept.

Firstly, some ritualistic instruments were found in the northern ‘star shaft’ of the Queen’s Chamber in 1872 by
Wayman Dixon, a British engineer. One of the instruments he discovered was a small bronze tool, described then as
a ‘grapnel hook’ but now thought to be a ceremonial, non-functional, ‘Pesh-en-kef’.(8) 

The second item concerns the pyramid’s ‘star shafts.’ It is well known that ‘false doors’ which the ancient Egyptians
used as a symbolic device through which the ka or spirit body could pass, were invariably constructed to normal
door proportions, as if to accommodate a ka which matched the proportions of the living Pharaoh. However, the
shafts, which are now believed, by many authorities, to be conduits to the stars for the Pharaoh’s ka, are only around
200mm square, well suited to the symbolic transit of a foetus or the ka of a foetus but not that of an adult. 

Also, if the sarcophagus can be considered as the womb of the sky goddess, it is possible that the shafts were
constructed as symbolic fallopian tubes; the ancient Egyptians were almost certainly aware of the existence and main
functions of the female reproductive organs. It may be relevant that, in the human female, the necks of the fallopian
tubes remain closed/ dormant until the time of ovulation, just as in the Queen’s Chamber, the shafts were originally
closed off at the chamber end. Both these shafts terminate within the body of the pyramid, perhaps symbolising the
connection between the fallopian tubes and the ovaries. The southern shaft, connecting with this chamber, was
explored by Rudolf Gantenbrink in 1996, by robot, resulting in the discovery of, what has come to be known as,
‘Gantenbrink’s Door,' 200-feet from the chamber. 

There are other examples of concealed symbolism within and adjacent to Khufu’s Pyramid, most notably the sea-
going Solar Boats which, it is generally believed, facilitated the Pharaoh’s sailing on the celestial sea. Such examples
demonstrate that the ancient Egyptians were fond of symbolic devices and would go to extreme lengths to produce
them; construction of the shafts would certainly have been a very difficult engineering problem and must have held a
powerful symbolism.

Conclusion

Regarding Egyptian pyramid design, several features point to an acoustics design intent.

Most notably is the architect’s choice of a simple 2:1 ratio (20 and 10 royal cubits respectively for the King
chamber’s length and width.) This is significant, particularly at bass frequencies where distinct room modes
(dominant resonances) would be expected to arise. The actual width and height, at approximately 5.25 and 5.85
metres respectively are also important. 

Notes concerning definition of Prime Resonant Frequency (PRF):

In any enclosed space but particularly one of regular proportions and with parallel facing walls, many dominant
resonances (modes) will occur. They can be predicted mathematically but when found experimentally there is
always one wherein the amplitude of the resonance is perceived as being the most powerful; it occurs when the
maximum acoustic energy in the room is reflected back to source. Conversely it can be thought of as occurring when
there is least absorption of acoustic energy by the room.

These are two definitions of ‘Prime Resonant Frequency’ and typically the prime will be of low frequency.
However, the roll-off frequency of the test loudspeaker was 63 Hz, thus I was unable to analyse frequencies below
this figure. The highest amplitude of energy reflected from the chamber, using pink noise as the sound medium, was
125 Hz, (centre frequency on the analyser) and calculations refined this to 121 Hz. This frequency is very near to a
musical ‘ B2’ (123 Hz), is easily sung or chanted by a male priest (see below ♯ for specific reference to the male
gender).

This male frequency dominance would have been discernable to anyone with a ‘musical ear’ simply by walking
slowly around the chamber whilst a vocalist performed a slow bass glissando. The sound of greatest loudness would
have been around 121 Hz. The lowest frequency that can be sung by an adult male is about 80 Hz and for the
purposes of discussing male chant, I have, therefore, redefined the Prime Resonant Frequency as the lowest
frequency mode which can be generated by an adult male voice. The true Prime Resonant Frequency of the King’s
Chamber may prove to be a sub harmonic of 121Hz, say at 66 Hz or 33 Hz, but if so, a 33 Hz mode could not have
been discerned by the ancient Egyptians and neither of these frequencies could have been vocalised by their priests. 

♯Note concerning the gender of priests:

From what is known of the priesthood in ancient Egypt, those of high rank were almost always of the male gender. If
it was the architect’s intention to engineer spaces in which male priests were required to perform chant-based
ceremonies, then we can predict that powerful low frequency modes would have been desired since the general
inclination of the male voice is toward the bass register. The dominant resonance in the King’s Chamber, circa
121Hz, is below the vocal range of most female singers and it is, therefore, likely that it was designed primarily,
although not necessarily exclusively, for male priests.

References

1.Marcus V. Pollio Vitruvius, Vitruvius on Architecture, Loeb Classical Library, ISBN 0-674-99277-6, p.293

2.John Baines & Jaromir Malek, Atlas of Ancient Egypt, Time Life Books, p.36

3.Aristotle, Poetics, Loeb Classic Library,

ISBN 0-674-99563-5, p.395

4.Lise Manniche, Music & Musicians in Ancient Egypt, British Museum Press, ISBN 0-1741-0946-0, p.60, p.162

5.R.A. Schwaller de Lubicz, Sacred Science,

Inner Traditions International, ISBN 0-89281-222-2, p.167, p.168

6. I.E.S. Edwards, The Pyramids of Egypt,

Penguin, ISBN 0-14-013634-7, p.62

7. P.H. Parkin, H.R. Humfries & J.R. Cowell,

Acoustics, Noise & Buildings,

Faber & Faber, London, ISBN 0-571-04953-2, p.39

8.  The word ‘peshen’ means to divide, to split, to cut, to separate, and such instruments were used during the
‘Opening of the Mouth Ceremony’ in which the deceased was symbolically reanimated. They were also used as a
birthing knife, i.e. for cutting the umbilical cord of new born babies. In their archaic form, they were probably
fashioned from flint, consisting of two curved blades which meet at a point, thus cutting through both sides of the
umbilical as it was circumflexed around it; in effect an early form of scissors.

John Stuart Reid is an English acoustics engineer and was technical director of Sound Electronics Ltd from 1969 to
1999, a company specialising in acoustics solutions for churches, cathedrals and public buildings. 

He retired from business in 1999 to conduct research into the true nature of sound, its role in the creation of life and
the mechanisms by which it heals.  

John is co-inventor of the CymaScope, an instrument that makes sound visible, enabling the vibrations of life and
the Universe to be studied by direct ocular vision.

His paper on the spherical nature of sound and sound's special relationship with light was published in the ISSSEEM
Journal in 2007.

John is also interested in ancient Egyptian stone-working techniques and the ritualistic use of sound. He is one of
only two men to have carried out an acoustics study of the Great Pyramid and the only person to have investigated
the King’s Chamber sarcophagus, cymatically. 

He lives and works in the English Lake District with his wife and co-researcher, Annaliese Shanda Reid.

John’s fascinating text, Egyptian Sonics ($19.90) can be ordered from: Sonic Age America, PO Box 19, Hope,
Idaho, 83836. Call: North America: 1 208 264 0171  

Email: cymaArt@sonic-age.com  For destinations outside USA, or to order online please refer to
www.cymascope.com

SACRED GEOMETRY &

ZERO POINT ENERGY

All geometry, including sacred geometry, lacks the discovery of differential mathematics and shapes. Without differentials,
the universe could not function as a perpetual motion machine.

by DAVID SEREDA*

Introduction

Submission accepted for publication pending editorial review.

528HZ SOUND “MIRACULOUSLY” CLEANED OIL POLLUTED WATER IN THE GULF OF MEXICO,
ACCORDING TO A NEW STUDY BY A CANADIAN RESEARCHER
Perdido Bay, Alabama—A series of sounds played to oil polluted water from the Gulf of Mexico has
“miraculously” cleared test samples of the deadly petrochemicals, says a well known Canadian
researcher.

According to John Hutchinson, an electro-magnetic energy

expert from Vancouver, B.C., Canada, a selection of “music”
has helped purify poisoned water. The frequencies included
the “sound of Jupiter,” recently recorded by NASA, vibrating
close to 528Hz frequency.

That sound energy has been determined to match the color

greenish-yellow--the heart of the rainbow, the
electromagnetic color spectrum, celebrated by the botanical
world, according to Dr. Leonard Horowitz, who has
published most on that pure tone. Nature obviously
celebrates that shade, the pigment chlorophyll, to produce
oxygen and energy needed for life.

According to Dr. Horowitz,

Hutchinson’s study results are most promising, as they were certified by the
Analytical Chemical Testing Laboratory, Inc. of Mobile, Alabama, and are
consistent with studies and predictions based on the most advanced
discoveries in mathematics, physics, and biophysics.

528Hz frequency, the “Miracle” note of original Solfeggio musical scale, is

only one of nine “core creative frequencies” in a “Perfect Circle of Sound”
that animates physical reality, like atomic energy technology, using spinning
electrons vibrating with electro-resonance.

This is an image of one of the most perfect, detailed, pure water crystals
ever photographed. It formed to reflect the

sound of the sun

In 2009, researcher David Sereda sent Dr. Horowitz NASA recordings of the sun along with this
crystallograph produced by researchers in Russia. Later, Dr. Horowitz compared the sound of the sun,
and jupiter to the pure tones of “The Perfect Circle of Sound” frequencies, including 528Hz. The Harvard
trained public health expert noted 528Hz was most obviously harmonic to both recordings.

Dr. Horowitz believes 528Hz is also fundamental to “LOVE”—the “Universal Healer;” and he recommends
combining the frequency of “LOVE/528,” with the “Universal Solvent”—Water—to advance “the future of
medicine”—LOVE Hydrosonics. To this end, the award winning author and film-maker publishes two
online journals Hydrosonics, that discusses the powerful impacts of sounds on water, and Medical
Veritas, heralding advances in natural ways to end pollution and advance healing. 
John Hutchison, is a well known scientist best known for examining
The Bermuda Triangle, and explaining strange occurrences in this
infamous area of the Atlantic ocean, called the “Hutchison-Effect,”
all associated with electromagnetic disturbances of unknown origin.
The Canadian Government has persecuted Hutchinson heavily
over the years, the last time for supposedly causing his neighbor to
levitate without consent.

Hutchinson’s partner, Nancy Lazaryan, a journalist from Minnesota,

said their research was “intuited” to include the 528Hz sound that
they observed causing oxygen to bubble up heavily from the bottom
of the oil soaked Gulf  and Perdido Bay, between Florida and
Alabama.

The couple started their research requesting samples of polluted Gulf water be sent to Hutchison's lab in
Vancouver.  There, Hutchison and Lazaryan experimented using ancient Solfeggio sounds and Gregorian
chant frequences that have been traditionally used for healing. The frequencies were applied to several
polluted water samples using audio and radio waves, with wonderful results.

So Hutchison and Lazaryan packed up

their lab equipment, borrowed a trailer,
and farm truck, and traveled from
Canada to the Gulf. Their chemical
analysis from their first "open air
frequencies" experiments in Perdido
Bay proved to them that, “the Gulf
water can be healed.”

To date, the federal government has

relied on the deadly oil dispersant,
Corexit, a Goldman Sach/Boots &
Coots chemical causing a lot of people,
and wildlife, to get sick and die.

Alternatively, Hutchinson and Lazaryan

recommend a harmonic "stream of
sound" to completely purify the polluted
water. The couple claims the
inspiration for these harmonics came
from the Essenes, a sect of Israel
where Jesus was a member. The Essenes "inner circle" taught the "stream of sound" as part of the
Creator’s power to create.

The 528 hz tone is known by the ancients to be a "healing frequency," and many people believe it can be
used to repair damaged DNA. Most recently, Dr. Horowitz, working with mathematician Marko Rodin,
advanced the mathematical relationship to genetic structuring, as DNA segments reflect Rodin’s “infinity
pattern,” that others predict will revolutionize everything. (CLICK HERE for a YouTube presentation on
this knowledge.)
 In 2009, Dr. Horowitz produced Live H2O: Concert for the
Living Water , in which groups from 72 countries
participated by singing and chanting in 528Hz, praying for
all polluted water to be blessed worldwide. 

One of the honorees at LIVE H2O was Dr. Masaru Emoto

who conducted years of research sending purifying
intentions and “LOVE/528Hz frequency vibrations into water
with astonishing results published in dozens of languages
and two New York Times bestselling books.  Dr. Emoto
actually filmed the molecular structure of the water changing
from disorganized arrays of crystals in polluted water, into
beautiful snowflake formations included visible “messages”
as through the water was actually “conscious.”

Dr. Horowitz, among Dr. Emoto’s leading scientific supporters, explains

this metaphysically by relating the power of LOVE in human hearts to
the power of the Creator to respond to prayer and heart-felt loving
intentions to heal the world and be helpful to one another.

Hutchison and Lazaryan, likewise, are hoping to bless the planet with
their new discoveries in the Gulf of Mexico.

"We declare PEACE," says Lazaryan, "the war upon the Gulf is over."