http://rune.galactic.to/venuscont2c.htmlOriginally Posted by rune.galactic.toWhat was Edward Leedskalnin’s levitation device like? The device he used in building Coral Castle was considered a mediumsized hand held instrument that was composed of a series of thin, hollow metal pipes, or tubes, of varying lengths ranging from eighteen to thirty-six inches. The pipes were mounted in a special way on a one and one half by one and one half inch wooden frame that was eighteen inches square. Altogether, there were eight such pipes evenly spaced across the top of the frame. I did not learn of the pipes metallic composition, but I would assume that they were either of steel or aluminium.(or copper?) The pipes were arranged on the frame long to short, from left to right.
The wooden frame and pipes were attached to a length of wood, a 2" x 4", that the butt of which was carved to resemble a rifle stock in appearance. Due to the instrument’s weight when being used, a monpod was fashioned and attached to the bottom of the frame for ground support and stability. A series of powerful magnets was fitted to the sides of the frame opposite the pipes. In other words, when the instrument was held in the arms for use, the magnets were located on the frame to the left and right of the pipes. Both the magnets and the frames were wrapped at certain positions with thin, copper wire. A heavy gauge copper wire (insulated) was connected in a certain manner to both left and right magnet banks, and they both joined together at a connecting terminal at the back of the frame.
By connecting these two wires, an electro-magnetic current, or flux, was immediately induced, or drawn across the pipes, resulting in a perpetually flowing circuit of electrical energy. The device is then primed and ready for use. Beyond this connection, no outside energy source is required to maintain the current. To activate it, the pipes must then be struck with a small hand held hammer. This produces musical tones which creates a special vibrational resonance.
When a special musical chord is reached, it does not diminish in sound intensity, but is held in constant audible amplification by the action of the electro-magnetic flux on the pipes. This musical chord will effect a natural weight or buoyancy, in the object, which causes it to lose it’s weight and float slowly off the ground. At this point, in order to then raise the object from it’s neutral position and lift it up in elevation, a different series of musical notes are struck on the pipes. This new chord then cancels out the neutral chord, and its lifting effect takes over, at which time the object rises to the pointing of the levitation instrument. Next, In order to then move the object from point A to point B, an additional musical chord is struck. This is known as the moving chord. There is several other special musical chords that are played to move the object at different angles, and there is one for moving the object closer or further away also. To explain the concept of how the music moves the object is very difficult. The music, in effect, creates a state of electro-magnetic equilibrium in the object.
The music is emitted as vibrational energy waves and they actually nullify the objects gravity, thus causing it to lose it’s weight. The applicable power and range of such a device is limited to certain mathematical specifications. These have to do with the size of the pipes, frame, magnets, and other components. More potential power is obtained by building a larger levitation device, however, there is a limit beyond which a diminishing return law takes effect. When the object is safely moved to the desired location, the device’s power is turned off by disconnecting the two large copper wires at the back of the frame. If for any reason, the circuit is broken in this manner while the object is still airborne, it will instantly fall to the ground having promptly regained its weight. If Edward Leedskalnin could have tape recorded himself at work moving the huge coral blocks about at Coral Castle, it would have sounded as if he were instead, playing a strangely intriguing melody on an instrument sounding similar to a xylophone.