Last Update completed February 21, 2018

February 21, 2018  : 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, a vibrational pattern. Gold is also a particular vibrational pattern, 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.

WR teaches that the elemental expressions are tonal. It makes sense to think that Nature will also try to generate the most pleasant and perfect vibrational patterns. The intervals between these elemental expressions will thus follow well known and defined mathematical laws. We already have an indication of Nature’s preference for regular patterns by the evidence of discrete energy levels in quantum physics. Transitions from one energy to another is now a function of the quanta of energy absorbed/released.

Before we begin we can already have an idea of how the 9 octaves might be constructed and also have an explanation as to why additional tones become evident in the higher octaves.

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 (3) 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


The note E is its own keynote but when part of the B keynote octave the E note becomes a Perfect 4th, and a major 7th when part of the F octave .
Every note has every possibility/related interval to every other note already 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 that 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.
Induction from the metaphysical universe.





















2 (2)2.252.666 3 3.2 3.3333.75 4
3 (4)4.55.332 6 6.46.6667.5 8
4 (8)9 10.664 12 12.813.3331516
5 (16)1821.33324 25.6 26.66630 32
6 (32)36 42.6664851.2 53.33360 64
7 (64)72 85.33396102.4 106.666120 128
8 (128)144 170.666192 204.8 213.32240 256
9 (256)288 341.333384 409.6 426.66480 512 (1)

The intervals provide a 90° offset relationship, doubling from one octave to the next and discrete intervals for each elemental expression. The table also provides a basis for the individual elemental frequencies which are used by Nature to stimulate each element to germinate from the inert gas seed condition.

We can apply the theory of AM/FM radio and describe the doubling in column 1 (octaves 1 to 9) to amplitude modulation, and frequency modulation to each octave to reveal elements 1 to 7.
Octave doubling can therefore operate in two separate directions. Amplitude doubling expressed in single discrete steps and frequency doubling expressed in smaller mathematical increments.

This implies each elemental octave differs primarily one from the other based on its rest amplitude displacement. Elemental variations within the octave are based on frequency intervals. These relationships are offset from one another by 90°, and work together in inverse proportion to ensure the universal constant for that octave remains constant. In other words, in the 9th octave, if the amplitude is represented by 256, this implies the upper limit of oscillation and not one fixed constant.

Think of this amplitude difference as you might tube thickness.

The following discussion will combine the lever, the seesaw, musical octave and the pendulum model into one cohesive overview of WRC.
We know that this physical reality is constructed from vibrational patterns spanning 9 octaves. Physical matter is unfolded from seed, and the 9 inert gases provide those seed condition. When split tones are taken into account this entire universe is constructed from about 144 unique 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. This is the minimal motion that can be expressed within a universe of motion.

Fig : 1
Fig : 1a

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.

Fig : 1a implies that as we continue to increase the frequency the amplitude of each peak reduces but don’t limit you thinking to this apparent relationship. If for example the amplitude remained fixed between the octave then motion would have to increase significantly to complete each cycle. This would explain why motion is so powerful in the higher octaves.

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 approximately,
1 = 100, 1.125 = 88.8 units, 1.25 = 80, 1.3333 = 75.2, 1.5 = 66.6, 1.6666 = 60, 1.875 = 53.3, 2 = 50 units

Tip #1

It is my present understanding that as this nominal (100 units) length is divided, a short (La – treble) and a long (Lb – bass) wave length will become evident separated by a central although offset 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 50 to 88.8, but the treble tone wound up from 50 to 11.2. In short, every expression desires to selfishly extend its own lever to 100 units so as to simulate Stillness. The best any expression can achieve is 88.8 when balanced by the compression condition of 11.2.

The rest condition is defined as La = Lb = 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 rest condition while lever (Lb) is extending relative to that same 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 positive frequency AND higher pitch note relative to the La = Lb starting condition, while the longer (Lb) lever will simultaneously produce a lower negative frequency bass note of longer wavelength relative to the rest condition.

The +2 generative condition is defined as the state of motion La << Lb (40 << 60) The imbalance is extenuated. The treble note (La) increases in frequency, while the bass note (Lb) 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 +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. Division creates a +/-/+ and not just a +/- pairing.

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.

Fig : 4

Fig : 4 suggests the reason why carbon should be considered as a bi-sexual element. 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.

The route 1 male expressions unwinds 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, the route 2 female expression unwinds from C’ back to C° via B, G, & E. This looks like the male cycle in reverse.

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.

Fig : 4 also provides a clear reason why there are discrete energy level intervals between each route from C° to C’ as observed in quantum physics.

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 !

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.

Fig : 2a

This sexed coupling is indicated in Fig : 2a.

If we take our cue from the piano keyboard we can say that the +1 condition is composed of a treble D with a bass B note, while a -1 condition reverses to a treble B with a bass D note.
It should be borne in mind that every note is the same note because, increasing or decreasing the electrical tension of any note will create the conditions for a new note to sound.

This may sound like a contradiction from the argument made at the top of the page but consider the following. Increasing the amplitude of a tone/note will increase its loudness.
In the case of Fig : 2a think of the hub D note in terms of frequency but the outer B note in term of amplitude modulation.

If we imagine a pendulum pen swinging backwards/forwards in a single plane then a straight line trace of that motion will be obtained on the chart recorder. This single line could in fact have recorded 10 oscillating cycles or indeed 10 million cycles. In order to better account for the motion of the pendulum the chart recorder must be set in motion so we can tease out all of those individual cycles This will reveal a typical sinusoidal wave function. As the chart moves to the left, the trace is recorded as a continuous wave function on the right side.

We can now modify this simple oscillating motion so that,

  1. the chart recorder will also oscillate left/right in sync with the pendulum
  2. the pendulum bob will be doubled, and swung asymmetrically – to act more like a expanding/contracting piston

When option 1 is active, rather than one long continuous wave function the motion will eventually loop back on itself to reveal the typical figure 8 continuous loop.

When this simple figure 8 2D geometry is now allowed to rotate about the vertical axis then the 3D toroid is revealed. When cycle are completed at the rate of 100 MHz then the concept of solidity due to motion withing the physical realm become more obvious.

When option 2 is also active then a dominant/passive interaction becomes evident as well as the characteristic vortex geometry of the polar regions of any sphere. If we now apply this thinking to the figure 8 image and consider melting/condensation as a pair then they can b seen entering the southern hemisphere as a pair. When crystallisation/evaporation are considered as a pair they too can be witnessed exiting the geometry from the northern hemisphere.

If we now look at the 5th octave we are primarily concerned with frequency modulation within a fixed amplitude range which defines the 5th degree of displacement.

Fig : 22
Fig : 22a

Fig : 22 represents the CONTINUOUS generative path 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 OPPOSED waves 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 : 23
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 : 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

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.

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

Fig : 25
Fig : 25a

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.