When you lie down in a sound bath, each instrument has its own voice. They don't play at random: each one brings a texture, a weight, a way of moving the air and the body. Here's what I use and why, so you know what's behind the sound you're about to hear.
The gongs
I work with three gongs, each with a different character:
A planetary Saturn gong (Paiste), tuned to the frequency of Saturn according to Hans Cousto's Law of the Cosmic Octave. It has a deep, dense, sustained resonance that expands in harmonic layers after the initial strike. Its stable, weighty sound invites introspection and slow, patient listening.
An "Earth" gong (Paiste Sound Creation Earth Gong), symbolically linked to the Earth. Its low, harmonically rich and organic sound evokes grounding, stability and depth.
An "Eight Corners of Heaven" gong, developed with gong master Don Conreaux. Tuned to the low D region, it generates a wide, enveloping vibration, rich in harmonics, associated with introspection and integration.
The crystal singing bowls
The quartz singing bowls are modern, made of silica. The lower ones create a stable foundation that supports the immersion; the higher ones add precision and outline the acoustic space, refining your listening and opening more subtle layers of perception.
The Tibetan singing bowls
Made of metal alloys and handcrafted, each Tibetan bowl is unique — hand-hammering and small variations mean no two are alike, each with its own "sound fingerprint." I have several:
Seven-metal bowls, connected to the seven astrological planets (gold–Sun, silver–Moon, mercury–Mercury, copper–Venus, iron–Mars, tin–Jupiter, lead–Saturn), with a wide, dynamic sound. Five-metal bowls, more stable and direct. A moon bowl, made during the full moon. A dolphin bowl, bright and high, reminiscent of aquatic vocalisations. And a gong bowl, combining the depth of a gong with the contained response of a bowl.
Other instruments
The koshi chimes open and close the shared space. The drum brings a rhythmic anchor that connects listening with the body. And the rain stick and ocean drum create flowing textures, evoking water and the sea, that accompany the transitions of the journey.
More than frequencies: a harmonic field
I don't work with isolated frequencies or fixed tunings as the main axis, but with the harmonic field of the instruments. The harmonics unfold in natural proportions, and phenomena like sympathetic resonance —when one frequency vibrates, others in tune respond on their own— and entrainment, which tends to synchronise inner rhythms, come into play. Sound isn't only heard: it propagates and settles within the one who receives it.
Want to hear how they sound together? Listen to a full session or read what to expect at your first session.