Jamie Buturff
Jamie Buturff | |
|---|---|
| Born | May 3, 1968 DeKalb, Illinois, United States |
| Residence | Sedona, AZ, United States |
| Nationality | USA |
| Known for | Rodin coil replication; A = 432 Hz tuning and the "True Solfeggio" system |
| Scientific career | |
| Fields | Independent researcher; sound and tuning |
Jamie Buturff is an American independent researcher based in Sedona, Arizona, known on this wiki for his replications of the Rodin coil and, more widely, for his advocacy of A = 432 Hz musical tuning and of a scheme he calls the True Solfeggio Pythagorean Tuning System, which he connects to Marko Rodin's number groups.
Biography
The following is drawn from Buturff's own account. He was born in DeKalb, Illinois, moved to Atlanta, and graduated from Riverside Military Academy in 1986. He worked in the construction industry, managing large projects for MM Systems and developing several UL-approved life-safety devices installed at Toronto International Airport, later becoming operations manager for Mercedes International. He also consulted at the Pentagon on waterproofing computer rooms. After moving to Florida he ran his own construction logistics company, and following what he describes as a spiritual awakening he relocated to Arizona in 2006 and founded Spiritual Results, an early client of which was the Chicago White Sox, where he worked with two players recovering from Tommy John surgery. He is the author of The Pre-Secret.
In January 2009 he began research into alternative energy, which led him to Rodin's Vortex-Based Mathematics. He presented several devices of his own design at the ExtraOrdinary Technology Conference in Albuquerque in July of that year, and his work was reported on the front page of the Sedona Red Rock News.
Rodin coil work
Buturff is among the more frequently cited replicators of the Rodin coil. His best-known demonstration, reported in Marko Rodin and Greg Volk's 2010 paper "The Rodin Number Map and Rodin Coil", is the levitation of a 64-gram magnet on a 3-volt supply — a photograph of which appears in that paper. He is cited there alongside Jean-Louis Naudin's iron-filing experiments as one of the two specific demonstrations offered in support of the coil's anomalous behaviour.
Other contributors here working on the same design include Bill Ramsay, whose "Rodin Coil Design" (1995) is the most careful experimental report the wiki holds, Randy Powell and Russ Gries.
432 Hz and the Solfeggio frequencies
Buturff's wider reputation rests on tuning rather than on coils. He argues that music should be tuned to A = 432 Hz rather than the modern standard A = 440 Hz, and has reported measuring hand-made Tibetan singing bowls which he found to sound at 432 Hz. He presents this alongside a reconstruction of the so-called Solfeggio frequencies — 396, 417, 528, 639, 741 and 852 Hz — built on Pythagorean whole-number ratios.
His distinctive claim is a connection between the two systems he works on: that the Solfeggio set reproduces the Family Number Groups of Rodin's Vortex-Based Mathematics, and therefore represents the frequency spectrum at which energy moves in the Rodin coil.
Assessment
The observation Buturff makes is arithmetically real, and it is worth setting out because it explains itself.
Reduce each Solfeggio frequency by summing its digits: 396 → 18 → 9; 417 → 12 → 3; 528 → 15 → 6; 639 → 18 → 9; 741 → 12 → 3; 852 → 15 → 6. The set does indeed collapse onto the 3-6-9 pattern that Rodin treats as fundamental, and 432 itself reduces to 9 (while 440 reduces to 8). The correspondence Buturff noticed is exactly as he describes it.
The reason, however, is not a shared physical principle but a shared method. The Solfeggio set is not ancient. It was produced in the 1970s by Joseph Puleo, who applied digit-sum reduction — the same operation, sometimes called Pythagorean reduction — to passages in the Book of Numbers, and it reached a wide audience through his work with Leonard Horowitz in the 1990s. The medieval solfège of Guido d'Arezzo, from which the name is borrowed, assigned syllables to relative scale degrees, not frequencies in hertz; the hertz did not exist as a unit until the nineteenth century. So both systems were constructed by base-ten digit reduction, and their agreement is a property of the construction rather than a discovery about sound. The same objection applies here as to Vortex-Based Mathematics generally: digit sums reduce numbers modulo 9 only because 10 ≡ 1 (mod 9), and a frequency in hertz is a human unit — the same tone has different digit sums when expressed in cycles per minute.
On pitch standards, part of the surrounding argument is sound and part is not. It is entirely correct that A = 440 Hz is a convention rather than a natural constant: concert pitch varied widely before standardisation, and historically informed performance routinely uses A ≈ 415 Hz for Baroque repertoire. A preference for 432 Hz is a legitimate musical choice, and the difference — about a third of a semitone — is audible. What is not supported is the frequently repeated claim that 440 Hz was imposed for propaganda purposes; it was adopted at an international conference in 1939 and codified as ISO 16 in 1955. Claims that specific frequencies produce particular physiological or chakra effects have not been demonstrated under controlled conditions.
The Tibetan bowl observation should be treated with care for a practical reason: hand-beaten bowls are strongly inharmonic, sounding several partials that are not simple multiples of a fundamental, and they vary from bowl to bowl. Which frequency one reports depends on which partial is measured and how, so a sample of bowls cannot establish a tuning standard without a stated measurement protocol.
The levitation demonstration is the point where Buturff's work touches a testable claim, and it needs the same treatment the rest of the Rodin coil literature does. Suspending a magnet above a coil is not by itself anomalous — magnetic levitation is ordinary physics, and a 3-volt supply can deliver substantial current. What would make the result significant is a measurement of power in against work done, under conditions others can repeat. As Rodin and Volk's own paper concedes, "to date no scientifically disciplined, quantitative, controlled studies have been published" on the coil.
See also
- Rodin Coil — the winding pattern, its claims and their assessment
- Marko Rodin, Greg Volk
- Bill Ramsay, Randy Powell, Russ Gries, Jean-Louis Naudin — other replicators
- Category:New Energy, Category:Vortex Theory