Structures have apparently been found beneath the Giza Plateau, suggesting that the Great Pyramid is actually the tip of a much larger construction. Could this comment by the Master of the Key offer an explanation of not only of obelisks, but of the pyramid and what lies beneath?
I ask the Master: What is prayer?
This is his response:
“A lost science of communication. This planet was once covered by a gigantic instrument of communication and ascension. Tones were important to inducing a correct flow of energy in the bodies of creatures. The ringing of the Egyptian obelisks set the correct frequency. Using this instrument, human beings could project themselves into higher worlds—what you call interstellar space, but also higher space. All of the ruins you see and consider as entirely separate from one another were actually part of the single great machine. This was a subtle machine. It did things far more sublime than any of your current machines. It was a machinery of God, this machine. It was very intelligent, infused with many souls. It could be addressed—programmed, if you will—with carefully patterned groups of words. These formulae became ritualized among the ignorant as prayers and magical formulae, for they assumed that the machine must be the god of those who addressed it, and they tried to do the same, in hope that it would grant them some benefit. However, the language of the machine was the language of nature, for the machine was not separate from nature.”
My comment as of 03/21/25: This remarkable statement was hardly what I was expecting when I asked the question. Now, after all these years, I think that he might have been describing a vast communications device that is centered on the Giza plateau. If it is actually underlaid by the huge pillars that are now being claimed to be there, it means to me that we are looking at a lost technology that enabled communication of a kind that me no longer really understand, but lives on as a shadow of its former self, as what we now think of as prayer. When we lost our fundamental connection to the sacred, we also began to see ourselves as outside of it, which is when what we now call prayer evolved, as a plea to return to the heights of soul from which we have fallen. It would seem to me that all the upheavals unfolding around us now are, at their core, connected to this effort on our part to return to the company of God.
This is a link to the original paper about the structures. Click here. To view the recent video about this click here.
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This certainly goes along with today’s guest’s topic! The Key is one of the most intriguing books I’ve ever read (seven times, so far).
The confluence of this week’s show, the recent Giza discussion and this comment is quite startling.
I had forgotten about this description in The Key.
Charles Muses believed that by listening to certain tones he created on a synthesizer that certain valves would open in the brain to allow a “higher theurgy”. He discovered a pyramid too, that of Dynasty 13 King Ameni Qemau (although it was originally mentioned in the writings of medieval scholar Taqi al-Din Ahmad Al-Maqrizi).
I marvel at how they had the understanding to make such a machine.
What was their scientific evolutionary process like that forged them understanding to make such a machine?
And to think of the vast breadth and enormity of resources? energy? labor? to make such a machine spanning the planet.. to integrate that part accentuates just how deep and well understood this machinery was.
In other words, this wasn’t done on some experimental whim! To go to such lengths shows they’d acquired absolute scientific certainty and scientific precision in what they were doing.
I think it’s safe to assume if this was a giant machine, they must have also possessed predecessor technological things based on similar principles before going to length of making a planet-wide machine.
There’s this other Egyptian lost technology related quote in The Key worth putting down here too:
“What was here before you was very great. It uncovered the secret to which you are blind, the secret of communion with the dead.
It began to be able to use intelligent energy in its technology. To use souls as tools.
Look at the carvings at Dendera in Egypt. Those strange objects in the containers are not electrical filaments or religious symbols. Those are souls.
The walls of the containers bear an electrical charge of a type that imprisons them.
Because of the use of such technology, elemental bodies extended their perception outside of the time stream, with the result that the school of the earth ceased to work as a place of change.
Who knows the truth, cannot find their weakness, and that is your aim on earth.
What was worse, the knowledge of this power was kept from the common, ordinary people who have little self-will to begin with, and so are the only ones really capable of making good use of such abilities.
The old world was destroyed because of its own greed and secretiveness. Those least evolved rose to the top, as happens here.
Your leaders, as you call them, are all people with damaged senses of self-worth. The damaged goods run the civilization. That’s why it cannot last.”
This is absolutely terrifying, and all the more so given recent political events.
I wonder if the souls originally infused in the ‘machine’ are still in it… waiting?
I just now read this essay. Several things to note here. Hoping this does not get caught in the spam filter, because I posted things last week that never showed up on anti-gravity devices:
Nicola Tesla also had ideas about the pyramids as power plants:
https://heelsandpyramids.com/kemet/tesla-and-pyramids/
This story from earlier in the week:
https://www.newstarget.com/2025-03-20-shocking-discovery-giza-pyramids-revealed-as-tip-of-the-iceberg.html
I’ve had this book for several years, ‘The Giza Power Plant’:
https://www.amazon.com/Giza-Power-Plant-Technologies-Ancient/dp/1879181509
My own journal entries from 20 years ago has so many references to the pyramids in particular, that I can’t write about them all here—involving other life memories.
‘The Emerald Tablets’ are important too—they cover a lot of ground. ‘As above, so below’ speaks to these new discoveries beneath the Giza Plateau, as well as the metaphysical.
One entry from my journal in April 2005:
“In my mind I saw the object that was being built take form. It was a tall, slender pyramid reaching up into the sky…the words “as above, so below” and I saw a mirror image of the pyramid directly above the one on the ground (kind of a hour-glass shape when viewed—wormhole?)…”
I am sorry that this business of getting caught in the spam filter keeps happening. We cannot prevent it. It’s very frustration.
This explanation confirms what I saw when I was in the great pyramid in 2008. My tour group was allowed to lie down in the “ sarcophagus” in the King’s chamber for two minutes each. I saw images coming into my head, one after another, various shapes of antenna: communication devices. I had already read the master of the key, but did not remember his explanation. Now I know it was telling me,with images that I would understand, that it’s purpose is communication.
Once again THE KEY nails it and the MOTK speaks volumes of precise truths. I’ve read this book like one might read a reference bible. I buy extra copies to gift esoteric friends or those I meet who can take it.
Its all Frequencies
TY Whitley
For what it’s worth, this is from Jane Roberts’ Seth, Session 605, January 17, 1972:
…”The pyramids exist as other than physical matter, but it is only as
physical matter that you perceive them. There are several important
issues connected with the pyramids that are not as yet understood. The
symbols upon them often were meant to be sounded. The sound setting up
reverberations. Some of these would automatically open up many doors,
leading to as yet undiscovered secrets – but only for those who
understood the use of sound.
“The Egyptians then were also helped, and told how to construct the
pyramids….
“I did get a line just now,” she said. “Something about how they
prepared the air first, for the construction of the pyramid…Now I’m
getting the feeling of an awful lot of people, chanting – thousands of
them – this still has to do with the pyramids.”)
(It’s a real funny feeling, as though the sound could break through into
the living room,” Jane said. I said I thought I understood what Seth was
doing: in light of the material we’d been getting, he was giving Jane the
experience of that ancient time and our present time, showing that both
are simultaneous. This experience would tie in nicely with the material.)
(I feel that a whole mass of people would visualize a pyramid in their
imagination,” Jane said, “then through their chanting, the use of certain
vowels and pitches, they actually changed the air where that building was
going to be. They made a boundary in the air,” she said making angular
gestures, “a cohesiveness, for this imaginary structure. Then they had
certain kinds of tuning forks, then some kind of instrument. The noise of
the chant was like something that you’d use to turn on this instrument –
when the chant got to a certain pitch it turned on this instrument, and
it somehow intensified and focused sound to what we would call an
incredible energy degree – broke it down and then focused it in certain
directions.:)
(“You could move very heavy objects with it. The objects were levitated –
raised up in the air, no matter how heavy. They only needed to be guided
by people to some degree. Many men were used to guiding them but not to
lift or carry them. The sound instrument had a fantastic cohesive effect
that bound atoms and molecules together.”)
(10:25 “And beside that the instruments also set up some kind of extra
charge that we don’t understand yet, around objects that were so
constructed, like the pyramids,” Jane continued. She was speaking faster
now than she had in the session. “Doors and passageways inside the
pyramids will open through the correct sound messages and signals, and
were designed only to open if those correct signals were given.”) (This
sounds really weird. There are also invisible pyramids – we just can’t
see them.” I could tell that Jane didn’t know what to make of this data;
she was even hesitant at telling me. “These pyramids were constructed in
such a way that they reflect everything else, so that when you look at
them you don’t see them as objects. Wait, I’m not getting this
right…they’re perfect camouflages of wherever they are, but certain
sound pitches would make them visible.”)
(“There are some invisible rooms like that inside the regular pyramids,
too.”)
(Pause at 10:30. “These are structures engineered on our earth extremely
cleverly. Sound patterns would physically materialize them, but if these
patterns aren’t given then the structures are just out of the range of
what we’d normally (call?) physical. They’re complete, see, if this
pattern is given or spoken.”)
(Jane said, “It’s as though they’re frozen – this isn’t a good word – at
a certain stage until these patterns are given.” (Pause.) “All objects
have their own sound patterns that help form their structure as much as
the atoms and molecules do…”)
(Break at 10:35. “I wanted to take a break, Jane said. “I never heard of
anything like that. It sounded so crazy I didn’t even want to say it,
about the invisible pyramids…The chanting was over here.” She gestured
to her left as she sat in her rocker; we were holding the session in her
study in apartment four again. Jane’s gestures thus indicated the large
open center area of the room, as though she was reaching over a wall
almost. “I got some of the chants, but I couldn’t quite carry it through.
Seth didn’t tell me anything like this was going to happen.”)
(At 10:43 “I’m just waiting to see what happens next. This isn’t terribly
strong, but I have the feeling of a barrier over there,” and again Jane
gestured to her left. “that I can’t get over. But all this stuff comes
from over there. Something about these instruments making atoms and
molecules denser, somehow – doing different things with them…”)
(Then Seth returned at 10:45:) “Now. The information Ruburt gave is
substantially correct.”
“You know that sound has an effect upon living things. It can help mend
bone. It can also be used, however, to reinforce structures. We are in
the preliminary stages with the Sumari language – hopefully leading to
some understanding of the nature of sound, though (humorously) you may
not yet be able to build a pyramid in your back yard.”
Rob: “I understand.”
Seth: “Now I would like you to close your eyes, or leave them open if you
prefer. Let various inner sounds, memories of sounds, enter your
consciousness, that may or may not be familiar to you. Try to think of
the sounds of images, think specifically of pyramids and see what sounds
come to you.”
(10:50 While Seth was talking I kept writing, of course, in order to get
the material for future reference. Finally I sat quietly. Jane was
already doing so, her eyes shut; I didn’t know whether Seth had left
again or not. My own eyes closed and I let myself drift.)
(In a few moments I seemed to visualize a pyramid shape that was based on
pictures I remembered of the actual structures in Egypt. This was very
pleasant. I seemed to be above the building looking down at it. This
image, on a slight angle, was probably more subjective than objective.
Then I seemed to feel a deep ringing gong-type sound,one that was rather
prolonged. It was repeated several times. After this I felt and heard a
series of chants by an unseen group, seemingly out of my field of vision
to my right.)
(The chanting was low and monotonous. It went up and down the scale but a
few notes. I had the feeling that it would repeat itself almost
effortlessly as long as I sat in this state and listened. I enjoyed the
experience, and was somewhat surprised at the results.)
(I opened my eyes. Jane opened hers, and I could see that Seth was
present. I described what I had experienced, not knowing if I had
accomplished anything even remotely approaching what he had in mind. “I
don’t know why,” I added, “but I associated the square base of the
pyramid with this gong effect. It was as though I could see this shape
especially well while listening to the gong sound, which was quite
prolonged actually. It seemed to repeat itself. Like the chants, which
were pretty monotonous, up and down a few notes on the scale. They
weren’t pitched very high, either.”)
Seth: “That is a very good beginning.”
(I don’t know why I use the word gong,” I said. I couldn’t imitate it. I
think there’s a funny association there also with old movies. I could
have picked up the chanting idea from material Jane was getting earlier
this evening.)
(10:56) Seth: “I want you to discover some of these things for yourself,
which is why I used this particular format this evening. I will only tell
you then that your feeling of the sound of a gong is quite legitimate.
“I would like both of you at odd moments to look at objects, then try to
hear their sound. This will be handy training for some other things to
come. This also applies incidentally to various organs of the body, and
to the body itself. Then let the sounds evoke whatever naturally comes
from them. There is a strange inter-relationship between sound and what
you think of as time, but a binding one.
“Time can then ‘appear’ as a sound. Sound can be used to set apart
certain elements from others, to isolate them from others, and on the
other hand to bind elements also. In that regard think of sound as a line
perhaps that you sketch with.
(11:01) “Sound’s properties are not understood. I want it specifically
noted then that sound can be used as a binder or as a separator of
elements. It can be used to open up pathways within dimensions, both
microscopic and macroscopic.
“And with that I will close our session. Think also, however, of the
sound in connection with your paintings, of sounds that will make the
paintings themselves more vital and the material last longer. And with
that I will leave you.”
Rob: “Thank you very much, Seth. It’s been extremely interesting. Good
night.”
(11:04. Jane said that while I had been getting my effects, she had been
somewhat separated from Seth after all. She saw groups of men “like
pictures you’d see of Egyptians. I saw their dark skin – in color –
against short robes. They wee in groups chanting.”)
(She saw a structure like a pyramid shape. She had the feeling that
‘heavier sounds were at the bottom. These formed the base of the
pyramid.” She tried several times to explain this to me. It was all
important, she said, that the heavier sounds were at the base of the
structures. Like the musical scale, she felt that the sounds used in
building the pyramids “made steps in the air that you couldn’t see.
Certain sounds went up – certain sounds bound things together – they all
had purposes…”