Did you know that a frequency can produce any shape you want? That’s right, there is no specific shape or geometry inherently associated with any specific frequency. We can make a given frequency show up as any shape you want, within certain physical limits - all we would need to do is choose the right diameter for the dish, and the right viscosity and surface tension for the fluid and that input frequency will produce the desired standing wave geometry.
I imagine we all have experienced this fundamental truth in resonance with our voices in empty rooms. In a room void of wall adornments one can sound out various tones through an octave. With careful attention, one can find a tone or several tones that seem to echo longer in the room, or even amplify in volume as you sing the note. These special tones are frequencies that resonate with the geometry of the room and the air filling the space. If you were to change the air in the room to pure helium, the tones you try will behave differently. If you change the dimensions of the room, you will find different tones that resonate with the space. This is the same concept in liquid cymatics. Just because a certain tone resonates well in a specific room doesn’t mean that the tone itself is magical - it just means that the tone is “magical” specific to that room and the air filling that space. It could be that a more humid day with a greater barometric pressure changes the properties of the air in the space and thus changes the resonant frequencies for the space.
Thus, if you want resonance in liquid cymatics, you must choose the right space filled with the right medium. This is the basis of sonic resonance engineering in the application of liquid cymatics. The takeaway from all of this is understanding that when we see a liquid cymatics image (called a hydroglyph), we are viewing the result of how a certain frequency behaves in a given space; it is the specific geometric relationship between the input frequency and the fluid in the dish used.
This brings me to the 432Hz craze, where folks claim that the cymatics of 432Hz looks “prettier” than 440Hz. However, what’s missing in that study is any acknowledgment of the cup diameter and fluid used; nor is there any acknowledgement of this basic fact that if they had changed the cup diameter or fluid properties they could have made 440Hz look “pretty” and 432Hz look distorted. In a sense, it is a lie. We can make *any* frequency look pretty while some other frequency nearby will show up distorted (440Hz is close enough to 432Hz to look like it but be distorted). In this sense there is nothing special about tuning our music to A432 versus A440. That is, until you investigate the dimensions of the human form and the viscosities and surface tension of our blood.
Perhaps only then will we find some “magic” in the frequencies of A432 tuning, where the tones resonate better with the specific cavities and fluids of the human form. Until that study is performed, it cannot be said that 432Hz has any inherent magic in it, even based on the mathematical beauty found in the ratios of the tuning.
Thanks for reading! I hope this sheds some more light on the phenomenon of liquid cymatics and the hydroglyphs we are producing and sharing with you all! Shown here is 15.6Hz in two separate spaces filled with the same fluid, one cup was 2 inches in diameter and the other was 2.875 inches in diameter. I have different color arrays shining down on each, but we can clearly see that one is a 3-fold geometry and the other is a 4-fold geometry. Thus, we clearly cannot say “This is what 15.6Hz looks like!”, since we can make 15.6Hz look like any shape we want.