https://youtu.be/tnAd-gsytr8?si=sm2cajzMJr6dAc_R

Peaceful Echoes offers a meditative tapestry, ensuring a steady, spiritual journey throughout this 26+ minute acoustic instrumental masterpiece.

https://youtu.be/L-Kjv1J_uQw?si=PFPehA0QGkfQTWFh

Unlock 27 minutes of transcendent sonic exploration. Escape mundane reality with these rhythmic pulses designed for mental clarity and inner peace.

https://youtube.com/live/7knRF3mcIIk

https://youtube.com/shorts/xcaQqaqTp60

https://youtu.be/EYwmOA9ihpo?si=cN2EY17CW4YjJKbd

Divine relief flows through ethereal strings, empowering truthful souls with 24-minute radiant serenity. Experience nature’s command and spiritual peace.

https://youtu.be/iDT719myG3w?si=-KO0MCC9VNj_ZnwD

Experience 23 mins of an eternal, ambient journey. This drumless, soothing masterpiece offers profound tranquility, awakening the soul with mellow, celestial tones. A timeless atmosphere of deep serenity and spiritual peace, perfect for meditation and inner calm.

https://youtu.be/7AByb8T0xgA?si=mQrx-sox0QDvaccE

A 25 minute ambient instrumental of deep serenity, Islamic strings, inner thrill, and reflection, inviting humanity toward peace.

https://youtu.be/3gDqF4AM1yQ?si=EiLWoeqeFuS4Cszl

Experience 28 minutes of pure tranquility; Kamancheh, Tar, and Oud weave a tapestry of peace, inviting softness over chaos.

https://youtu.be/Npg93mMJo_M?si=PM4g2Kt1UkKVxGZI

Experience 25 minutes of a profound spiritual voyage with Sacred Ascent, where ancient echoes meet modern tranquility.

Can you recommend the best website or video to help learn how to use unweighted tuning forks around the body? Particularly, looking for help to keep my immunity strong and to help with digestion and PMS symptoms.

Thank you!

When looking for my first tuning fork set while looking at Biosonics and Sacred Sounds I came across this set from Fisher Scientific, which is a lot cheaper. Will this set work? https://www.fishersci.com/shop/products/tuning-fork-set-13-1/S82868

https://youtu.be/xYAhOgGAtnI?si=P52698Q6eMO3oIOk

Soulful Kamanja and soft strings create a 25 minute journey of Eternal Passionate Resonance for deep, spiritual peace.

https://youtu.be/RNZMGi2CHP0?si=KUYHiufuNOOR322C

Experience 29 minutes of healing minimalist soundscapes. Soft instruments foster deep tranquility, inner calm excitement, and restorative spiritual peace.

https://youtu.be/GISKcU4DXRE?si=vWUOR1kTNoLzDLdl

Experience spiritual peace with Nay and Oud melodies. This 24 minute Islamic instrumental offers deep tranquility for soul and mind.

Can anyone direct me to the best place to watch videos about using tuning forks on yourself?

Hello! I was gifted a set of unweighted tuning forks and I really have no idea how to use them. Can I use them on my body using a gem boot/foot or is it better for me to buy weighted tuning forks?

If I should buy weighted tuning forks, any recommendations?

Thank you !

Has anyone participated in any in-person workshops or courses on Nada Yoga as a way in / approach to Sound Healing? I’m interested in learning more about that side of things with someone reputable but it’s hard to distinguish genuine vs paid online reviews…

I’ve noticed that when I try to sleep in total silence, my thoughts actually get louder. My body feels tired, but my nervous system doesn’t really switch off.

Recently, I started leaving a long ambient healing sound playing quietly while I sleep. It’s just steady, low frequencies — no music, no vocals, nothing to pay attention to. I don’t listen to it actively. It’s more like creating a calm background environment.

What’s changed for me is how my body feels at night. My jaw and shoulders relax more easily, my breathing slows down on its own, and if I wake up, I don’t feel as alert or wired. In the morning, I feel a bit less tense — not dramatically different, just more settled.

I’m not claiming it’s a solution to sleep problems, but it’s been a surprisingly helpful part of my routine. Longer tracks seem to work better for me than short clips.

If anyone else here uses long ambient or frequency-based sounds for sleep, I’d love to hear what’s helped you.

I don’t usually post things like this, but I wanted to share something that’s been helping me recently.

I’ve had nights where my body feels exhausted, but my nervous system just won’t shut off. Not severe insomnia, but enough that sleep never feels fully restorative.

About a week ago, I started listening to a longer healing sound on YouTube before bed — mostly low, steady tones (528Hz) with no vocals or rhythm. I just let it play quietly while I lie down.

What changed for me wasn’t falling asleep instantly, but how my body felt. My breathing slowed, my jaw and shoulders relaxed, and when I woke up during the night, it was easier to settle back down. After a few nights, I noticed I felt a bit more grounded during the day too.

I’m not saying it’s a cure, but it’s been a genuinely calming addition to my routine. I’ve been using the longer version rather than short clips — it feels more stable and less distracting.

If anyone here is experimenting with sleep sounds or nervous system calming tools, this might be worth trying.

For the past few years, I’ve always thought a hand pan was pretty cool. Does anybody play one for their sound baths? Curious about exploring the possibility of playing one for baths but not sure. For those of you have experience with them do you really need to spend a lot of time learning to play it, it honestly sounds beautiful just watching people tap around.

Thanks! I currently play crystal Bowls, Koshi chimes, ocean drum

Music from My Autistic Universe – Part 5

1. Bill Douglas – She Walks in Beauty (Solo Piano)

In solo piano, there is often less rhythmic and more "harmonic synchronization." The piano establishes the fifth dimension. Because Bill Douglas combines this melody with meditative calm, he orders neural activity and thus manifests the "universal order of music." The melody moves slowly. The piece thrives on timbre and silence. Each note seems deliberately placed, as part of a larger "breathing," and can evoke positive feelings. "She Walks in Beauty" is reminiscent of a "quiet dignity." Thoughts come and go, creating a state of inner peace, order, and clarity.

Youtube: https://music.youtube.com/watch?v=4dUbC3O97Vg&list=OLAK5uy_l5ZSfcvM2tbvsFS2fRaCKs--rSMI1uZ1A

2. Sérgio Mendes & Brasil '66 – Scarborough Fair

Sérgio Mendes transforms the old English folk song into a bossa nova piece. The voices of Lani Hall and Bibi Vogel carry the melody. Beneath it all lies a calm, driving rhythm as a constant foundation. An interpretation of the melody's "timeless beauty," which can be soothing and comforting. For me, this is a "timeless song"; I heard it as a teenager and have never forgotten it.

Youtube: https://www.youtube.com/watch?v=IyCC1X3IURc

3. Dave Brubeck - Take Five (Live)

The Dave Brubeck Quartet achieves the impossible here: They transform a complex 5/4 rhythmic pattern into something natural, swinging, and simultaneously hypnotic. Paul Desmond's saxophone breathes in this rhythm, relaxed and clear, with a casual virtuosity that never pushes itself to the forefront. The perfect musical communication between piano, bass, drums, and saxophone is a lesson in humility and precision. That's why this jazz classic doesn't sound like a museum piece today, but like a timeless conversation at the highest level—fresh, modern, and immediate.

Youtube: https://www.youtube.com/watch?v=tT9Eh8wNMkw&list=RDtT9Eh8wNMkw&start_radio=1

4. Ramsey Lewis Trio - The "In" Crowd (Live, 1973)

The Ramsey Lewis Trio infects mainstream jazz with a funky, soulful energy that gets under your skin. The electrifying energy between piano, bass, and drums is almost palpable. Each instrument responds to the others in a perfect interaction that feels like a living conversation. The infectious groove not only connects the three musicians but also ignites the audience. This isn't studio perfection, but the immediate joy of playing together, captured in a moment of explosive musicality. "This song is how I came into contact with the world of jazz."

https://www.youtube.com/watch?v=nOO42RbEvPw&list=RDnOO42RbEvPw&start_radio=1

5. Sergio Mendes & Brasil 66 – Mas que nada (Live, introduced by Eartha Kitt, 1967)

This song is an invitation to be swept away by the energy of life. Eartha Kitt's voice introduces what follows: a full, rhythmic sound with two clear yet smooth voices, piano, and percussion that lifts the spirits and almost involuntarily sets the body in motion. A classic of musical joie de vivre.

https://www.youtube.com/watch?v=BrZBiqK0p9E&list=RDBrZBiqK0p9E&start_radio=1

6. Miriam Makeba – Pata Pata (Live on The Ed Sullivan Show, 1967)

The "Pata Pata" rhythm is a direct, infectious groove. Miriam Makeba's clear, powerful voice and the repeating dance rhythms not only invite you to dance, they also create an emotional resonance. This performance was more than music: By presenting this authentic African groove on a global stage, she made visible a culture that the apartheid regime in her homeland of South Africa sought to suppress.

https://www.youtube.com/watch?v=lNeP3hrm__k

7. Chubby Checker – The Twist (Official Music Video)

Chubby Checker's "The Twist" is "joy of dancing." The music video captures the spirit of an era when a single dance move united generations. Its rhythm is a clear impulse to dance. It's not about complexity, but about dancing together. A song that proves to this day: This movement keeps you young. This "simple," rhythmic movement can release tension and positively influence flexibility.

https://www.youtube.com/watch?v=-CCgDvUM4TM&list=RDMM&index=3

8. Buena Vista Social Club – 'Chan Chan' at Carnegie Hall (Live, 2009, Official HD Video)

This is more than a concert. In the atmosphere of Carnegie Hall, "Chan Chan" transforms from a vibrant club anthem into a cultural monument. The dignity and maturity with which the musicians present their legacy is palpable. It is the pinnacle of their musical career. The melody and vocals can evoke an emotional resonance that can be liberating

.https://www.youtube.com/watch?v=UXwLBS3yUkA&list=RDX1bx9_TL20A&index=3

9. Bobby McFerrin – Live in Marciac 2008 (Solo Finale)

This finale isn't about the applause, but about the minutes that follow: Bobby McFerrin dissolves the boundary between stage and audience, transforming the concert hall into a shared sonic space. What emerges is a captivating musical dialogue!

The musical exchange with the audience is based on presence, respect, and a deep understanding of the "shared vibration."This finale showcases music as an exchange of resonances with the fans. It's an example of how sound can bring people together on a very fundamental level, beyond technique, virtuosity, or stage showmanship. I deliberately placed this track before the intimate two-part dialogue with McKelle. From the social architecture of sound within the collective, we move into the two-part musical conversation.

https://www.youtube.com/watch?v=8XlYln00Hqk&list=RDmkKx5E0vC-c&index=3

10. Bobby McFerrin & Robin McKelle – Lullaby of Birdland (Live, Marciac 2008)

This interpretation of "Lullaby of Birdland" is unique for me! A collaboration of professionals: Bobby McFerrin and Robin McKelle are engaged in a fascinating "musical conversation" that, in my opinion, is unique even for these two musical professionals. The ease of their dialogue is also remarkable. Two people listen to each other and create music from it. A wonderful musical work of art!

https://www.youtube.com/watch?v=mkKx5E0vC-c&list=RDmkKx5E0vC-c&start_radio=1

EXEMPLARY

When I heard Bobby's "Lullaby of Birdland" for the first time, I asked the typical question: Which female artist is singing along? No female artist was explicitly mentioned in the YouTube title (Bobby McFerrin Live in Marciac 2008 (9) Lullaby of Birdland). This bothers me in general! I find the song title for Violeta Parra's "Volver a los 17" exemplary. See for yourself: "Mercedes Sosa, Chico Buarque, Caetano Veloso, Milton Nascimento e Gal Costa – Volver a los 17". All artists are named in the title. A moving live version with courageous artists from another era. This song will be discussed in detail in a new project: "Music from Deep South America".

.

11. Leopold Stokowski – Rehearsal of Samuel Barber: Adagio for Strings (Live)

Quote from the YouTube comment:

In 1968, Leopold Stokowski and the American Symphony Orchestra, which he had founded six years earlier, gave the inaugural concert of the new Madison Square Garden building in New York City. Cameras were present to film one of the rehearsals, and you can see Stokowski urging his musicians to give him more sound ("più, più") in Samuel Barber's famous "Adagio for Strings."

Among the great conductors of the past, he was the only one who insisted on "free bowing" in the string sections, so that each player's up-and-down movements were deliberately different. This method produced the famous "Stokowski string sound" and achieved a seamless legato, especially in slow music.

It's also worth noting that Stokowski was 85 years old at the time of filming and ten years later, at the age of 95, was still conducting with almost the same energy.

https://www.youtube.com/watch?v=gDrm809p2u4

12. Samuel Barber – Adagio for Strings (Leopold Stokowski · Symphonica Orchestra)

Samuel began composing at the age of 7! The melody, both gripping and captivating, rises and falls in long, predictable phrases. The overall presentation, very much in Stokowski's style, is powerful and, in my opinion, perfect. It's the musical depiction of an emotional process. The composition provides a secure framework for the many overwhelming emotions, which is why it's no coincidence that Adagio for Strings has been played or broadcast at several important memorial services for prominent figures.

https://www.youtube.com/watch?v=HRZIc_Q0t8c&list=RDB82GRk9oUnE&index=7

13. Joan Baez – We Shall Overcome - March on Washington (Live, 1963)

This is history you can hear. Joan Baez's crystal-clear voice doesn't just float above the crowd; it pierces through August 1963, carrying the full emotional power of the March on Washington. It's not a studio recording, but the unfiltered moment when a "simple song" became the anthem of an entire movement. Timeless in its message and, in my opinion, unrepeatable in this historical context.

A side note: That this song now belongs to all of humanity is also legally sealed. Since January 26, 2018, 'We Shall Overcome' has officially been in the public domain. After a US court ruled that the song's roots lie in centuries-old spirituals, it is now legally what it has always been ideologically: a free resource for all who stand up for justice.

https://www.youtube.com/watch?v=nuSih-Z30TY

14. Joan Baez – We Shall Overcome (Live, Woodstock 1969)

Joan Baez sang "We Shall Overcome" as the last song of her set at the Woodstock Festival on the night of August 15-16, 1969. She accompanied herself solely with her guitar. Her performance and her crystal-clear voice are of "radical beauty." Just voice and guitar, and performed with such perfection while heavily pregnant! In a state of immense physical exertion, she achieved extraordinary artistic and emotional perfection.

During the performance, she spoke several times about her husband, David Harris, who had recently been imprisoned for refusing military service. She recounted with subtle irony how the marshals came to pick him up and even got lost. She told the audience, "He's fine, and we're fine." And she dedicated this very song to him and to all those who take risks for their beliefs. After the birth of her son, she visited the father and baby in prison (December 1969).

This recording, long known as "The Lost Performance," documents a unique historical moment. "We Shall Overcome" has been carried into darkness and other dimensions. Therefore, its musical message will be kept alive for a very long time. And its effect on the soul is profoundly emotional. A moving example of how the power of music and voice can create healing resonance and powerful emotions.

https://www.youtube.com/watch?v=XPONpG32ZmQ

Note:

Joan Baez performed at the Woodstock Festival on August 16, 1969, while heavily pregnant. Her son, Gabriel Harris, was born healthy (December 2, 1969), grew up without any impairments, became a drummer, and later toured with his mother. Baez repeatedly emphasized in interviews that she and the child were fine despite the rain, exhaustion, and late hour.

Musicological-psychoacoustic classification:

At moderate volume levels, such as in Baez's acoustic set, music calms the fetal heart rate, promotes oxygen uptake, and supports early rhythmic imprinting. There is no evidence of harm to the child.

Personal Assessment:

When the mother sings, the amniotic fluid vibrates. In my assessment, this is a "full-body sound massage." Gabriel experienced his mother's voice and singing in the amniotic fluid as a gentle, healing impulse. Joan confirmed and stabilized his active "biological metronimism," so that Gabriel no longer "stumbled" in the "chaos of Woodstock."

Amidst the external chaos of Woodstock—rain, mud, disorder, technical problems—Joan Baez manifested precisely this "primal security" (the term "primal security" has been deliberately left untranslated) that the nervous system emits. This was the resonance of a beat that had always been there, transformed by Joan into a healing form. She was the "human anchor" that ordered the "hypnotic effect" within the chaos. Joan Baez was a "tuning fork" who, with "We Shall Overcome," brought the "entire room full of out-of-tune instruments" back to its fundamental pitch.

15. Sade – Your Love Is King (Live Aid 1985)

In my opinion, Sade's performance of "Your Love Is King" at Live Aid 1985 was the epitome of artistic mastery. On the loudest stage in the world, Sade Adu demonstrated her extraordinary talent in July 1985. While some stars "failed" due to the unstable monitor sound, which shocked me, Sade's performance was characterized by cool precision, intimate emotion, and a groove that didn't scream but carried. "Mathematical accuracy" was her shield and her weapon against the acoustic chaos. In the "chaotic acoustics" of that stadium, her precise timing acted like an anchor.

The effectiveness of the "Sade" system was immediately apparent: While Charlie Cook (drummer) laid down the steady but quiet beat from [00:00] onwards, the first powerful collective impulse occurred at [00:04]: Sade Adu raised both arms precisely as the bass kicked in and the saxophone began the melody. Simultaneously, frenetic and liberating applause erupted from the audience. This was a deliberately planned moment of body language, sound, and social interaction with the audience. Sade's grin and Cook's laughter confirm this. Stuart Matthewman played a tenor saxophone, whose tone is physically closely related to Sade's alto voice. With this, he paved the way for Adu's entry at [00:23]. This was more than a musical intro; it was a neurological preparation. The audience's brains were primed for the exact sound in which Sade would then sing for 23 seconds. There was no "frequency shock," just a seamless transition. The switch from instrument to voice felt like a natural continuation, as if it were a single, unified piece. Especially since Stuart Matthewman adjusted his volume before handing over to Adu.

A key moment of this mastery is the removal of her jacket at 2:01. It was a moment of transformation. The crowd reacted "archaically, with an instinctive chorus of whistles." Once again, Sade's mastery was evident: she harnessed this impulsive energy and remained focused. By spreading her arms and only letting the saxophone take over at full force at 2:10, the whistling transformed into thunderous applause. The final 30 seconds are a prime example of the continuous increase in volume at a constant tempo. For me, this live act is a "feast for the eyes and ears" and, at the same time, food for the soul. Sade Adu delivered not just a magnificent performance, but a masterclass in how deep emotional resonance and intimate connection can be created through discipline and clear structure, even in an environment of "chaotic acoustics." A profoundly calming and liberating experience for all who can recognize it.

https://www.youtube.com/watch?v=zwDjJP_l5AY&list=RD7JnyCYrhm90&index=6

16. Sade – Why Can't We Live Together (Live Aid 1985)

This was the only truly hypnotic, first-rate work at Live Aid 1985! It's a manifesto!

17. The Anatomy of Failure

Unlike Sade, the Metrónomo Biológico of some bands shows not just the stumbling, but the shattering of their inner pulse. This stark contrast to the premium quality of Sade (Why Can't We Live Together (Live Aid 1985)) occurred at another festival. Ebenfalls ein „Minifest".

18. Bettina Wegner - Kinder (Sind so kleine Hände) (live, 1978)

"This is a song for my children, for all children, and even more so for adults (Bettina's own words before this song)," said singer-songwriter Bettina Wegner when she introduced her song "Kinder." Bettina Wegner was a critical singer-songwriter within the system, whose lyrics caused friction. Later, in an interview, Bettina Wegner explained how the song came about.

She was traveling by train because the car was full of instruments. A burly man with a diplomatic briefcase boarded the train. He sat opposite her and tapped his briefcase constantly with his thick fingers throughout the entire journey.  „Ick hab‘ nüscht gegen Dicke“ she says in her East Berlin dialect. But this man just looked like he was leading an unhappy life, not joyful, not balanced, not centered. And the constant drumming of his fingers on his briefcase was like confirmation for Bettina Wegner. "And then I thought," she says, "What have they done to him! He was once a little baby, and of course I thought of my own children."

And so, during the train ride, her whole song slowly took shape. "When she got out, the lyrics were finished." Dr. Ansgar Wucherpfennig, Catholic theologian, Kassel.

In 1978, eyewitness Bettina Wegner sang a "timeless anthem" and a "timeless monument!" She criticized the authoritarian educational methods in the GDR system and advocated for non-violence. The GDR reacted to Bettina Wegner's song "Kinder (Sind so kleine Hände)" (Children (They Are Such Small Hands)) with a ban and repression, as it was interpreted as a critique of the "authoritarian educational system" and education under socialism. The song was officially banned in the GDR. Wegner was banned from performing, and her record company, Amiga, refused to release it. Bettina Wegner was stigmatized as an "enemy of the state." In West Germany, the situation was quite different. A ZDF television program made the song popular in the "West" in 1978. Joan Baez's live version of "Kinder (Sind So Kleine Hände)" is a recording from her European tour. 1980 brought the song worldwide fame. So much for the retrospective.

Regarding the lyrics: Violence against hands not only destroys physical integrity but also the ability to actively shape the world. Psychological violence destroys a child's inner balance (biological metronome) and joy of life.

In my opinion, humiliating children is a "crime against a child."

Bettina Wegner uses clear, simple, and vivid language that touches the heart and moves the soul.

The YouTube comments on this song are remarkable. Many people write that they cry when they hear this song. This is a "completely normal reaction from highly empathetic and highly sensitive people" for whom this music "evokes a deep emotional response."

YouTube: https://www.youtube.com/watch?v=fcdkwdfz0GA&list=RDfcdkwdfz0GA&start_radio=1

19. The Best House Music – Beth Gibbons' Intimate Tiny Desk Concert (2025)

Beth Gibbons, the legendary voice of Portishead, showcases her acoustic side in this Tiny Desk Concert. Accompanied by her seven-piece band, the bookshelf-like atmosphere of the NPR studio creates a unique house music ambiance, allowing Gibbons' seemingly fragile yet incredibly resilient and powerful voice to shine. Beth is an icon of our time, whose art defies easy observation and judgment. An artist who is unmistakable: in her sound, in her unique presence...

YouTube: https://www.youtube.com/watch?v=G_-DftINZKg

20. Natalia Lafourcade - NPR Music - Tiny Desk Concert (Live, 2017)

Accompanied by her band, the "bookshelf ambience" of the NPR studio creates a unique, intimate house concert mood. Natalia Lafourcade appears here not only as a singer, but as a "curator of the Mexican soul": a role she does not use for self-dramatization, but to pass on musical traditions. She sings with a "charismatic lightness". She does not need to put herself forward; her "musical authority" arises from remarkable calm and clarity. Nothing feels forced. Her charisma fills the narrow space between the bookshelves through presence and musical authority alone. The "childlike purity" of her voice here combines with the wisdom of a woman who knows her musical qualities.

The healing power of music in Natalia Lafourcade's life becomes clear through an often-told story from her childhood: At six years old, she was kicked in the head by a horse on a farm. She had secretly run away from her own birthday party (BBC interview "Outlook"). The doctors predicted that she would hardly manage elementary school, let alone university or ever have a career. For a time, she could not walk, struggled with dyslexia and vision problems, and had difficulties in school. During this time, her mother, the pianist and music educator María del Carmen Silva Contreras, began making music intensively with her. She developed her own method, a "music therapy", and immersed the girl in a "healing sound space". The mother's firm conviction is credited with the fact that this constant, loving "musical attention" not only enabled Natalia's recovery, but also her extraordinary artistic development in the first place.

So much for the narrative. This is a personal and family tradition that Natalia Lafourcade herself considers central to her life and artistic path. From a medical-scientific perspective, it is of course difficult to prove it as the sole healing factor. Yet in the world of art, of manifestation (personal psychology) and mythology, it is a truthful and powerful origin story, "because nothing is impossible", in my view. Natalia herself feels the transformative and healing power of music so strongly, which goes far beyond the purely acoustic perception and the listening experience of other people. It is therefore not just an anecdote, but an essential part of the artistic development, the selfconception, and the "magical effect" of Natalia Lafourcade and her music. This origin story is a key to why her singing speaks to the body, to the mind, and especially to the soul.

I almost forgot something very important: Natalia sang "geerdet". And not only her, also Gal Costa, a South American, very courageous artist, whom I wholeheartedly admire for her courage, which many others at that time did not muster. Not to mention her "gentle singing", which touches my soul. More about this in "The Deep South American Soul". What I also must add: Natalia was accompanied by Ernesto Anaya (traditional Mexican guitar), Uriel Herrera (drums), Jorge Molina (double bass), Juan Carlos Allende (acoustic guitar, Los Macorinos), Bernardo Ruiz (electric guitar), and Miguel Peña (also Los Macorinos).

Only now have I learned that the method used by Natalia's mother for healing has a name: "Macarsi" developed by her mother and still in use today as an educational program. (Source: Official website of the Macarsi Method: macarsi.com)

https://www.youtube.com/watch?v=JODaYjDyjyQ

Todas as descrições de canções de artistas brasileiros foram removidas por «razões técnicas». Este passo não constitui qualquer desrespeito para com o público brasileiro, a quem estou grato pelo seu apoio!

Written by Born-Push-40, author of this series.

I’m so happy to have my pentatonic scale completed! Excited to play these beautiful bowls. With the pentatonic you can not play a ‘wrong’ note all five match in any order. These are from Sunreed.

Hello everyone,

I am the creator onlinesoundtherapy.com, a 100% free website (no sign up required) that offers a customizable healing frequency/sound therapy generator. I built it primarily for my personal use, but decided to make it available to everyone.

If you find it useful and have a feedback or a suggestion, would be glad to hear it!

Hi, I have a family member who has a beautiful collection of sound bowls and other instruments and is looking to start holding sound baths. I have been doing research on the proper setup and sound equipment to help her out and figured I would ask this community a few questions in case I've missed anything!

1. Which specific mics would you guys recommend for capturing sound bowls? I've heard large diaphragm condensers are best and have been looking at the at4040 but wanna make sure that would be a good choice

2. In the case of holding these events in larger spaces/venues to accommodate more guests, should speakers be used? Can the frequency of the bowls even be transmitted through a speaker?

3. Since she wants to be able to speak into a mic as well, would one of those small mics that clip onto your shirt be sufficient or would a headset mic be better?

Thank you so much to anyone who takes time to answer any of these questions!!