Finally Found One That Survives the test!

In this video I test another proposed source location using the same reflection-based method I’ve used in the previous episodes.

Rather than starting with assumptions or narratives, this looks at what the audio itself allows.

Using four microphones, I check whether the direct paths and expected reflections line up in time and space — or whether they fail under the same rules that broke the other locations.

This location does close under those constraints, and I walk through how that happens mic by mic.

This is not a claim of a precise source point, and it’s not a final conclusion.

It’s a test of acoustic viability: does this location survive the data, or does it fall apart like the others?

I’ll be releasing the Google Earth model, audio files, and timing measurements so anyone can verify, challenge, or try to make another location work — under the same rules.

If you think a different explanation fits the audio better, show where you’re measuring it.

Next step: ordering the reflections for this location and attempting independent corroboration using other microphones and methods.

Alright, folks, welcome back.

In the last couple of videos we looked at the Swanson Building and the Loci Center as the source of the audio, both of which failed, and we should take a little recap on why.

Starting with Tyler Robertson and the official narrative positioning, and the front-right 12-meter mic from Charlie's location.

I think the biggest giveaway was the fact that there was no reflection coming off of this back wall in the time that it would take to create it, and given the directionality of the wavefront and the lobe going this way, there's no way to avoid getting a reflection off of the Hall of Flags as a whole.

As you can see, it is a very large surface area, made of concrete, metal, and glass, and this would absolutely create a reflection coming back up the courtyard, and we do not see that at all.

Secondarily to that, if we look at the Swanson Center—the alleged shooter location 3—we actually have quite a few failures and, and stuff that shouldn't happen, as a sound wave turning a corner without being able to reflect off anything, and various expected paths that didn't work out, which fails the whole location under simple path reflection tests.

Today I'm going to be looking at alleged shooter location 2.

Unlike the previous locations, this one actually closes, so I'm going to show how that happens, exactly, step by step.

Just a little recap on the methodology: I have broken down the audio files for each of the mic locations, and I have then turned it into frequency bands by just using a simple EQ.

This is then transferred onto Google Earth, and the timings and geometry are measured against the map to determine whether the reflections can fit in. Pretty simple textbook stuff.

So, front-left 15-meter mic. Let's take a little look at the early reflections. Early reflection 1.

As you can see, the green line is a pass, red lines are a fail, and if an audio wave or pressure event happened here—the source of the audio—then you could absolutely expect it to travel downwards, hit this corner, travel out to the mic.

So that one actually fits the geometry and the distance as a whole.

Number 2: we can expect exactly the same thing to happen, to hit this, this—I don't know what you'd call it—sort of like ledge, sort of same design as the pergola, isn't it?

So hit this ledge, and it can also make the distance and the geometry for early reflection 2. Early reflection 3, absolutely as well. Now this one, it may look a little bit funny.

I mean, if I turn the 3D off, it is attached, and the what's happening here is you have to imagine how the pressure event happens.

So the shot goes off, there's like a ball of energy that sort of expands, and it's going in all directions.

Obviously it's spherical. So as that sphere sort of hits, comes down, it's going this way, but it's also going this way.

So as it comes down and hits this edge and brushes along this step line—any one of these step lines, usually it would be the first—then that ledge will absolutely reflect that field back.

I mean, it's an amphitheater; that is literally what it's designed to do. So we can absolutely account for the third early reflection coming off of the bowl itself towards the mic.

All three early reflections are a pass.

If we look at the thump, we can also see it passes as a reflection.

I haven't put anything in that one, but it does pass as a reflection off of this concrete surface over here.

I don't know if it's a shop front or something like that, or a classroom or something, I'm not too sure, but it does absolutely work out exactly.

At 121, I believe. 122.1, should I say? 122, you see.

So we can see that that one absolutely passes as a reflection.

Though as a thump it doesn't pass, because the actual radio will be out here and up here.

It's not going to—it doesn't, it doesn't classify it as a thump from this location and this mic. R1: we can put in the circle measure from the microphone.

And again, this is the atmospheric sort of shift after the reflections. And if you could imagine the sound coming this way, reflecting off of this back edge here, it's then going to be traveling back, and this is where you're going to get R1.

Then it's going to come back to the mic, and then you should get R2, which again, it's a wavefront and a lobe.

This is absolutely possible because of the angle of this building.

And to tie this one off, I mean, because everything worked out, there was no point doing expected path, because it's doing what it's expected to do.

So if we stick in the propagation path and the arrows that I drew in, we can actually trace how the sound went through the courtyard from this location, if this was the location.

So as you can see, it will follow this arrow line up here, hit there, come down there, hit the wall, bounce off, equal enough angle, hit this corner, reflect up there, hit down there, and then fly off out that way.

And that is entirely consistent with what you would expect with a wavefront and a lobe coming from this location over here.

So for the front-left 15-meter mic, it is a 100% pass.

Now let's have a look at front-right 12 meters from Charlie's location, and stick in the direct path. Oh, let's get it zoomed out a little bit. Let's go for the early reflections.

Absolutely, this stairwell. Right, so at first I couldn't get the measurement to work, but then I realized, obviously, that these are on the horizontal plane and they're not going diagonally down.

So I had to use a pythagoras's theorem, basically, measure the two surfaces, you know, give or take a couple of centimeters or whatever, and then work out the angle difference.

As you can see, the direct path is 31.3 meters.

The excess path is 7.27 meters, making it 38.57 meters.

The main roof height's 14 meters, the lower roof height is 8, the vertical drop is 6 meters, and the horizontal offset is 5.25 meters.

There's your maths, and it gave me 7.43 meters, which is, what, 16 centimeters difference.

I mean, yeah, I mean, I think that's a pretty good pass.

The steps below at the location—basically, the steps below this location—are a viable early reflector.

And it fits the geometry, it measures out to the timing.

What more could you ask for, really? Number 2: coming off of the fountain, believe it or not, and it is absolutely, absolutely viable, because a pressure event would hit this side as well as this side.

As it traveled up this way, it would rub off of this side.

As it traveled that way, it would hit this hard surface and reflect back.

Without a doubt, you can't escape that because of the materials that are used there, and the size of what's there as well is absolutely viable.

Let's look at number 3.

Again, so, like we said with the pressure events coming downwards here, isn't it, you know, towards this step, and it's also coming downwards towards this lip here.

So as it comes up here, it would absolutely nip over the top of this, hit this wall down there, and bounce back to the mic.

That is absolutely viable as well. Late reflections: another pass.

And this is frequency-dependent as well.

The actual frequencies in there are totally consistent with the pergola and its sizing, so it absolutely makes a viable reflection.

To look at the thump: again, absolutely viable off of this side.

The size of it and the material of it would give a really strong reflection back. And yep, it can make it as a reflection.

As an independent source thump test, it fails.

Direct impulse originating or near the alleged thump location would require approximately 113 meters of propagation to match the observed timing.

So it fails as a thump, but it definitely passes as a reflection to the meter. R1: Swanson Building. It appears I haven't drawn the lines in, but the circle measure is just as good. Pick your point.

You know, if sound's going this way, R1 would come off of there, wouldn't it?

And R2: again, it's not as if it's reflecting back.

It might not have enough power to.

It might well be there, under the crowd noise or whatever.

But I think this is—it's the same pressure event that's hitting here is also extending through this gap, and it is hitting here and traveling back to the mic, which is consistent. Did I draw it?

I didn't do an expected path, which is absolutely consistent.

So, mic: front-right 12-meter mic works.

Again, no failures, 100% passes the reflection test.

Next on the list is front-right 45 meters from Charlie's location.

And stick in the direct path, and go for the early reflections again.

R1: absolutely frequency-dependent as well.

Fits off of this post, or this ledge up the top here.

It's the right size for the frequency content that the mic recorded, and the angle is totally fine as well.

And this is what you'd expect if the—you know, if the shot was taken in this direction, the wavefront would travel this way.

This is why this mic hears it, and why laser beam theory doesn't work here. It's a wavefront theory.

So we pass that. R2: I don't know why I put it in the late reflections.

And again, same thing here.

It's a different part of the building, sure.

This one's up high, this one's down low.

But frequency, size, and the measurement absolutely makes it in time.

Giving it another pass.

This one we have a repeat of the thump as well.

Again, same as the other one is what you'd expect.

If the front-right 12-meter mic got it from there, then it's entirely consistent that the front-right 45-meter mic would get it from there also.

But the difference is we do have a repeat, and that is coming off of the amphitheater down here and making its way back up to the mic.

As you can imagine, it's coming downwards, it's hitting a corner, reflecting, and coming upwards again.

So it's going to travel up to that mic, which is another pass.

R1: makes it to that wall.

It does it when you turn the 3D off, at least.

But yeah, if the sound is coming this way, towards this front here, then it's going to be traveling back, hit that wall, and come back again, giving you R1.

And then you're going to get R2 going the opposite direction, which is back to the same surface, maybe a bit further, a bit deeper into the actual shop front itself.

I don't know what's actually under there, to be fair, but it is consistent.

You can move it up and down here to get the angle that you like.

I mean, again, it's an expanding wavefront that's going to be hitting it, so it's going to be pretty large by the time it's traveled, what, 40, 50, 60, 70, 70, 80 meters, 90 meters, you know.

It's going to be pretty large by that point.

It is moving pretty quick, much like we did before.

I didn't put—oh, I did put some arrows on there, and that's good.

You can trace—should have done that for every mic, really—but you can trace the actual pressure event and how it traveled.

Bang, hits that wall, bounces past the mic, hits the back there, comes back down this way, travels over the top of here.

You might find that, you know, a bit further on, there's more reflections in there.

But again, once you get past R2, it gets a bit unruly because it opens up more possibilities rather than accurate measurements.

You know, it's like, it could have happened, you know, whereas these are consistent with what would happen from this location.

So, alleged shooter location 2 for front-right 45 is an absolute pass as well.

Last but not least, let's look at the back-left 40-meter mic from Charlie's location.

And stick in the direct path, and move on to early reflections.

There's more early reflections with this one, and I assume it's because of his elevation and distance from all the reflection sources.

So if we put in reflection 1, we can see that it works out to over here, which is, again, consistent with the other one.

The pressure event's going to come over the top of this.

It's going to hit there and travel up. That is totally viable.

Alleged reflection 2, we're going to do the same as before, as I think it's the front-right 12 got.

It's going to hit there, it's going to bounce off the floor, it's going to come up, and he's going to hear it.

How strong he hears it just depends on how, you know, off-cent he is.

But he definitely hears it, because I have noted it down and measured it.

Early reflection 3, this post just on the inside here, is frequency-dependent as well.

So it's all in the higher frequencies, meaning it's a smaller surface area.

Larger frequencies need a bigger surface area to reflect or defract from.

So this one's a pass as well.

Early reflection 4: this one I did actually struggle to pinpoint, but then when you look at the actual physics behind it, then you may get one off of the front here, but you might find that this angled ledge pushes the energy into this corner and then reflects it back out to the mic.

So that is also consistent with frequency content as well.

And R5: oh, that's over there. That's another post.

Should have really raised that up.

But yeah, these posts here are absolutely becoming an item, aren't they?

We can put the thump in, which is pink for some reason, and the thump repeat, both of which pass.

If it's a reflection, you'd imagine the pressure event coming out, hitting this whole side here, creating all these reflections off of these.

And you'll also get one off the front here, which will—whether it's down on the corner on the floor or whether it's the ledge—is kind of irrelevant.

It's going to bounce back up, and it's going to be heard.

And the same off of this back wall, being a little bit further away.

It will obviously hit that and travel to the mic as well.

So we can say that they are passed as.

And late reflections: after the thump, we can actually measure it out to this corner here, which is a pass.

This one's slightly different, right? Let me just remove this one.

Now, I couldn't make it—I couldn't make it up, right, anywhere on the map.

And I thought, well, if everything else is passing, then there must be a reason why.

And this is where I have just started to introduce the complex path.

Because what you would absolutely imagine here is if the pressure event hit this bottom corner down here, it's got to hit this side and come out this way, hasn't it?

And then we take the angle into it, we take the angle out of it, and we know that the pressure—the sound pressure—builds up in corners.

I don't know if you've ever walked around your living room with your speakers on.

If you stand in the corner, you can absolutely hear the bass overpower a lot of the other frequencies.

So it's the same thing that's happening here. It's hitting here.

It's obviously quite wide, so that whip is obviously then transferred into this corner and fired back to the mic.

So that's the only complex path that I have included, because it actually does make sense that something along them lines happened there.

R1: I don't know why it's orange, but R1 and R2 on this one, again, it's a little bit funny because of the geometry of the map.

Now, they're both going away from the mic, and I can explain that with the elevation.

Because the sounds coming here are going to hit this wall.

They're going to bounce straight back out again.

Anything that's not hitting that wall is going to go straight over the top and disappear into the distance.

You might get a little bit of kickback from this corner, but it would be very minimal.

You know, possible, but it's more likely to hit that wall and go that way.

And that would account for why they are coming from the mic out in a sort of abnormal fashion.

But that is entirely consistent with what you'd expect, being the mic's location.

So for that reason, I am giving it a pass as well. 100% pass.

I don't even think I'm reaching.

So that's all four microphones for this location, under the same reflection rules I've been using throughout.

This one actually closes.

There are still other locations people have asked about, including the stage area.

I can test those as well.

And if there's a strong interest for all new data, I'm happy to do it.

That said, this location actually survives the test.

My instinct now is to keep pushing on it, to see whether it can be corroborated using different microphones, different recordings, and different types of analyses.

At this point, the most useful thing to do isn't to keep cycling through failures, but to see whether the results hold up when we stress-test it from other angles.

I'll be releasing the model, the audio, and the timing data so anyone can verify or challenge this.

If you think another location works better under the same rules, show it.

Next, I'm going to take this result and see whether it can be independently corroborated.

I mean, I suppose I can test the stage area.

I mean, sorry, that was my little bit of script.

I can test the stage area if you want, for an exploding mic or whatever.

But I mean, I think it's already failed the audio test.

That is because a shaped charge is, what, 150, 200 decibels?

I think somebody said their average was like 90, 100 decibels, but even so, it's pretty loud.

And if the gun shots, you know, 100 and whatever, 30 meters away, 50 meters away even, if you've got a mic at 5 meters away from said explosion, then it would register an event that would not be in phase with the waveform.

So we can definitely look at that, but I think we'd already see if there was, because there'd be a massive spike in comparison to the gunshot. Anyway, hopefully that helps.

Look forward to seeing you when I tighten things up. Take it easy.

Finally Found One That Survives the test! Jan. 19, 2026

Unraveling the Mystery of the Charlie Kirk Assassination

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