Last Update completed October 03, 2017
October 03, 2017  : Complete re-write of the entire page content

There is no process of transmutation as such.
Transmutation implies changing one ‘thing’ into another ‘thing’.
This is not Nature’s way.
There is only ONE thing.
So, although I will continue to use the term ‘transmutation’,
I wish to define the term as “changing the state of one thing into another state of the same one thing”

Think of sodium as a particular condition, a particular motion of light. Gold is also a particular motion of light, as are all the expressions of elements.

It is an important goal to find a technique within WRC to explain
the physical differences between male and female bodies.
To express femaleness as the radiative half of the cycle make very little sense.

We are all familiar with the musical scale, do, ra, mi, fa, so, la, ti, do. 8 notes, an octave.
Now, there is an interval between those notes which sounds and FEELS pleasant. It will be assumed that Nature too will tend to produce wave harmonics or cymatic patterns that are pleasing and soothing to the senses.
Note, that there is a strong symbiotic relationship between the physical sound and the metaphysical feeling associated with that sound !
This is the basis for powerful alternate healing techniques as practiced by R. R. Rife but ignored by modern medicine.


The tempered musical interval for the do, ra, mi, scale is as follows,
1(P1), 1.125(M2), 1.25(M3) , 1.333(P4), 1.5(P5), 1.6667(M6), 1.875(M7), & 2(P2)


For any given tone or fundamental (P1) the next tone in the sequence is P1 * 1.125, then P1 * 1.25 until we reach the octave tone of P1 * 2.

The full 13 note scale (Chromatic) intervals are as follows,
1(P1), 1.0594(m2), 1.1225(M2), 1.1892(m3), 1.1599 (M3), 1.3348(P4), 1.414(A4), 1.4983(P5),
1.5874(m6), 1.6817(M6), 1.7818(m7), 1.8877(M7) & 2(P2)

The full 13 note scale typical intervals are as follows,
1(P1), 1.06667(m2), 1.125(M2), 1.2(m3), 1.25(M3), 1.3333(P4), 1.4285(A4), 1.5(P5), 1.6(m6),
1.66667(M6), 1.77778(m7), 1.875(M7) & 2(P2)

The full 13 note scale typical intervals expressed as fractions are as follows,
1(P1), 16/15(m2), 9/8(M2), 6/5(m3), 5/4(M3), 4/3(P4), 10/7(A4), 3/2(P5), 8/5(m6),
5/3(M6), 16/9(m7), 15/8(M7) & 2(P2)

Chords, or a group of harmonious notes are made up as follows,

Major chord : 1,3, & 5 note in that keys scale (135), happy mood
Minor chord : 1, the flat 3rd, & 5 note of the scale, sad mood
Augmented chord : 1, 3 & sharp 5th note of the scale
7th chord : 1,3 & the flat 7th note of the scale.

The 12/13 notes of the full scale in C are
1C, 2C#, 3D, 4D#, 5E, 6F, 7F#, 8G, 9G#,10A, 11Bb, 12B, 13C
The 8 notes of the octave scale for C are
1C, 3D, 5E, 6F, 8G, 10A, 12B, 13C

Musical Relationships
Root Whole Whole Half Whole Whole Whole Whole
M2 M3 P4 m6 m7 M7 Octave
A B C# D E F# G# A
B C# D# E F# G# Bb B
D E F# G A B C# D
E F# G# A B C# D# D
F G A Bb C D E F
G A B C D E F# G

The note E is its own keynote but when part of the B keynote octave the E note becomes a Perfect 4th. Every note has every possibility/related interval to every other note within itself.
This is a very important concept as it clearly indicates that every point contains the whole, and therefore can be manipulated to expose or reveal the whole relative to another body.

Over-unity is achievable.
Over-unity does not imply something for nothing, it means a more efficient method than man’s present understanding.
Over-unity is not achievable using the current scientific mindset.
Over-unity is harmony with Nature.
Over-unity is achievable when the physical device operates at a harmonic frequency to Nature’s fundamental.

The following discussion will combine the lever, the sea-saw, musical octave and the pendulum model into one cohesive overview of WRC.
We know this physical reality is constructed from 9 octaves of vibrational patterns. This physical reality is unfolded from seed, and the 9 inert gases are those seed condition. When split tones are taken into account this entire universe is constructed from about 144 vibrational patterns. Fig : 1 indicates how the seed conditions emerge from Stillness. The most basic of inert gases will oscillate between two nodes at the Cosmic Fundamental Frequency (CFF). We can assign the vibrational frequency of 1 Hz to this cold very expanded condition of matter.

Fig : 1

Fig : 1a

This frequency is so low the motion is thus very close to Stillness itself. This will put this octave outside our ability to perceive.
Fig : 1 also shows the second harmonic, or the second possibility for expression. This wave form oscillates about 3 nodes and the oscillating frequency increases to 2 Hz.
The image is marked out for the octave interval helium to neon but the principle is the same.
The musical interval between any inert gas is one octave, the elemental expression lie between any two inert gases octave expressions.
Fig : 1a indicates the vibrational patterns for the first 7 of 9 octave conditions for the inert gases. Our visible and physical reality comes into manifest from 4th hydrogen octave. The inert gases are therefore smooth standing waves.
If the CFF for the initial seed condition oscillates at 1 Hz then, octave 2 = 2 Hz, octave 3 = 4 Hz, octave 4 = 8 Hz, octave 5 = 16 Hz, octave 6 = 32 Hz, octave 7 = 64 Hz, octave 8 = 128 Hz and octave 9= 256 Hz.
These are not different elemental expression as such, they are simply different aspects of the same one fundamental frequency. Helium and Neon are the same thing for the same reason note C at 256 Hz is the same note at 512 Hz. One can think that the fundamental frequency undergoes a cymatic alteration as the frequency increases.

If we now assign the CFF @ 1 Hz to Alphanon the elemental expressions within that first octave will occur at the approximate harmonic frequencies of 1.125, 1.25, 1.3333, 1.5, 1.6, 1.66667, 1.875 and 2 which will manifest as the next inert gas Betanon.

In fig : 1 the fundamental was assigned a nominal length of 100 units @ 1 Hz. The next octave will occur at 50 units @ 2 Hz and the elemental expression of that first octave will now manifest at apporximately,
1 = 100, 1.125 = 88.8 units, 1.25 = 80 units, 1.3333 = 75.2 units, 1.5 = 66.6 units, 1.6666 = 60 units, 1.875 = 53.3 units, 2 = 50 units
although the pitch reduces to maintain the universal constant.

It is my present understanding that as this nominal (100 units) length is divided into a short (La – treble) and a long (Lb – bass) wave length will become evident divided by a fulcrum (F). This first octave is now divided in stages until La = Lb @ 50 units each, the octave of the fundamental.
There is two way motion. There is compression from octave 1 to 9 in one direction, but an unwinding radiative motion from 9 to 1.
In the example above, the +4 condition is generated when Lb = 88.8 (bass tone) and La = 11.2 (treble tone).
The bass tone has unwound from 100 to 88.8, but the treble tone wound up from 1 to 11.2. In short, one lever is trying to get to a length of 50 units by expanding from 100 to 50, while the other lever is trying to get to 50 units via compressive growth from 1 to 50.

The +1 generative condition is now defined as the state of motion when the fulcrum (F) shifts so that La < Lb (46.7 < 53.3). Lever (La) is compression relative to the inert gas while lever (Lb) is extending relative to its starting condition in the inert gas.
This is a GROWTH condition for both sides of the divide. One side (La) growing in treble tones while the opposite side (Lb) is growing its bass tones.
An asymmetrical balanced condition is created. The two separate condition when added together = 100, the assigned universal constant for this octave. Two different notes are now generated to indicate that division. The shorter La lever will thus produce a higher frequency AND higher pitch note relative to the La = Lb starting condition, while the longer Lb lever will simultaneously produce a lower frequency bass note of longer wavelength.

The +2 generative condition is defined as the state of motion La << Lb (40 << 60) The imbalance is extenuated. The treble note (La) gains pitch and frequency, while the bass note (Lb) loses pitch and increases its wavelength. Shortening the wave length increases the frequency.

The +3 generative condition is defined as the state of motion  La <<< Lb (33.4 <<< 66.6). The imbalance is further increased. The treble note (La) gains once again in pitch and frequency, while the bass note (Lb) continues to lose pitch and increase its wavelength.

The +4 generative condition is defined as the state of motion La <<<< Lb. Maximum imbalance is achieved. The treble note (La) has reached the shortest wavelength and the highest pitch AND the bass note (Lb) has achieved the lowest pitch and the longest wavelength.
The area under the treble peak must continue to accommodate 50 units of potential and because the area is so small the manifestation of energy appears very high.
Likewise, the long wavelength bass note also accommodates 50 units of potential. But, because this potential is distributed over such a large area the energy appears very low.
In terms of thermodynamics, the low frequency bass note is necessary to FREEZE the hot center treble note in place.
This implies that any physical body male OR female must be composed of a hot positive core surrounded by a colder negative region.
Male AND female physical bodies manifest as a result of their own GENERATIVE cycle. They each decay by their own radiative cycle. I will attempt to clarify later in this content why WRC is so confusing on this one issue.

The problem with trying to connect all the dots between the natural world and WRC is that there is no clear instruction how they should mesh together in a mutually cohesive fashion. For example, the notes on a piano are arranged in a left to right ascending order with no obvious location for a peak (carbon) note, while WR periodic table appears to be arranged in an opposed way creating a peak. Are they mutually exclusive?
If not, then some modifications to one or both models are necessary. If we split the 8 note musical octave as indicated in Fig : 4, a lot of questions seem to be resolved. An assumption is made namely; elemental carbon sits one octave above the inert gas helium. This is a direct conflict with the narrative outlined in Figs 1/1a.

Fig : 4

Fig : 4 suggests the reason carbon is a bi-sexual element, is because, there are two ways to arrive at the carbon condition.
Route 1 (assigned male ) ascends from C° through E, G, B to C’ while,
Route 2 (assigned female) ascends from C° through D, F, A to C’.
Both are ASCENDING, GENERATIVE, GROWING routes just as male/female (0 – 40 years) bodies grow.

Route 1 male expressions unwind via C’, A, F, D back to C°. This looks like the female cycle but in reverse. I believe this confused if not WR then certainly those who edited his manuscripts.
Likewise, route 2 female expression unwind from C’ back to C° via B, G, & E. This looks like the male cycle in reverse which I believe confused either WR himself or his editors.
When the scale is ascending from C°, E, G, B, to C’ physical maleness is expressed but when that same scale is DESCENDING then a switch occurs and this unwind scale represents the female radiative cycle.

In other words, if the note D represents a physical body, then that body is surrounded by its negative self a B note. Let the D note = the +1 element Lithium for instance !

Fig : 2a

So, what might its sex mate look and sound like ?
It must be The physical note B which is surrounded by its negative self the note D. This is how and why Lithium and Fluorine have an affinity for one another. Sex mates find balance because the positive core of one expression finds balance with the SAME expanded version surrounding its mate.

This sexed coupling is indicated in Fig : 2a.


Fig : 5

There is though, a very important lesson to learn here and it concerns how we interpret wave motion. The expansive, radiative cycle can only come into being after potential has accumulated. If heat (through centripetal compression) has not occurred then radiation cannot manifest.
This is why WR teaches that our sensing is only tuned to the radiative half of the cycle. If we examine a swinging pendulum to indicate the process of Mind Thinking, then the physical universe only appears to our sensing as the Thinking Process transitions from the higher octave C’ to the central fulcrum F, OR from the lower octave C* to the central fulcrum F.
Fig : 5 indicates the line trace for an oscillating pendulum, a Thinking Mind. The oscillating frequency contains every possibility.
The transition from F to C’ and from F to C* in the opposite direction is not sensed within the physical universe.

Fig : 22

Fig : 22a

Fig : 22 represents the generative followed by (sequential) the radiative cycle for physical maleness. The trend above and below the horizontal wave axis is the same.

Fig : 22a represents how two ascending wave can unite to complete a simultaneous waveform.
Notice, how both route 1/2 are present and each one is ascending to maturity as all male/female adults do !
The octave note C’ contains within it all the notes of the octave.
The C’ octave condition of carbon contains therefore all the elements of the octave, just as the inert gas helium does !

Fig : 23a

Fig : 23

Once the octave condition has fully matured, then the radiative half of the cycle can commence.
Fig : 23 indicates this unwinding sequence.

Notice, how the ASCENDING scale for one half cycle becomes the DESCENDING scale (in reverse) for the radiative cycle !


This seems to make sense but there is conflict here with the periodic table layout. This I will develop on the VIP-Members page.

Another way to express the above sequencing is indicated in fig : 24

Fig : 24

Fig : 24a

Fig : 24 alone will open the door to a sizeable portion of Walter Russell’s Cosmology. It indicates both the simultaneous and the sequential aspects of EVERY wave cycle.
According to WR, nitrogen is the product of carbon unwinding. This implies a continuous sequence like the notes on a piano. But, can we really account for the dramatic difference in melting points ?

WR teaches that sexed mates are inside-out and reversed opposites of each other, as indicated in fig : 24.

Fig : 24a highlights how two mature generative streams are necessary for union, and how they each reverse/inside-out to unwind back to the ground state of the inert gas.

Tip 2
Think of any wave form as a stairwell facilitating two-way motion. One side is ascending while the reverse side is simultaneously descending. During the generative growth cycle the ascending sequence is dominant. During the radiative half of the cycle, the ascending cycle is present, but the descending sequence is dominant. Don’t think of maleness as ascending with femaleness as descending this is not correct, though WR is not always clear in his explanation of the distinction between male/female physical bodies.
Remember, dominant descending is NOT the same as positive ascending. What I mean here is that the male descending unwinding scale a, f, d is NOT the same as the generative, ascending female cycle D, F and A !!!

Fig : 25

Fig : 25a

Fig : 25 Defined as Male physical body Ascending from C° to C’ via E, G, B

Fig : 25a Defined as Female physical body Ascending from C° to C’ via D, F, A

The direction of N or S is not associated with any particular note; rather the direction of North is DEFINED by the sequence of the notes.
Ascending notes point to North, the opposite direction is always south.
Descending notes point in the direction of south, and the opposite direction is always north. Notice how the ascending sequences E, G, and B imply the note B is the direction of north, but also the ascending sequence D, F, A implies the note A is the direction of north.
This is why WR is at pains to point out that division creates two positive anode conditions, one male (B) and one female (A). See fig : 24.

Fig : 28

Fig : 29

Fig : 30

Fig : 31

Fig : 30 radiation shown in lower-case blue always to the outside – to freeze red in place

Fig : 31 radiation shown in lower-case blue always to the outside – to freeze red in place Notice also the INSIDE-OUT relationship

Tip 3
Imagine a 10 minute piece of music. The piece played at the correct tempo has rhythm, timbre, soul that induce an emotional response. Let’s define this standard 10 min. piece of music as 1 unit of light.
The notes comprising this piece of music appear out of silence and disappear into that same silence in a cyclic rhythmic fashion.
Now, let’s compress this piece of music from 10 minutes down to 1 second and allow it to play ! This unit of light has been compressed into the x-ray/gamma ray range. Exactly the same information is present which is delivered in 1 second rather than 10 minutes !
Imagine now, the emotional response this 1 second burst would produce !
Likewise, if that piece of music we extended from 10 minutes to 1 year ! Imagine that sound and consequent musical response !
Although all the information is present, albeit as very long wavelengths, all mood, tone, feel and soul would be lost to the normal ear !
Does this simple analogy not describe ALL OF CREATION ?

When the music is delivered in 1 second we experience x-rays, when delivered in 10 minutes we experience visible, audible information, and when delivered in 1 year we experience ELF. Space is not empty, nor is it a vacuum.