Not many folks give a thought to the frequency with which they tune their instruments. Steven Rubio however has been engaging with a specific frequency and finding that it carries incredible healing resonance. In this episode, Steven shares some of the history of A-432 Hz and his unique way of utilizing it in his sound healing experiences. He also explore: -his double life as a rock and roll drummer and sound healer/yogi -his experiences being classically trained as musician. -sound and frequencies and their ability to alter our states of consciousness. -not all sound healing being “relaxing” and more!
Check out Steven’s unique sound healing music and connect with him on instagram Soulscapes”
Album: https://distrokid.com/hyperfollow/stevenrubio/soulscapes
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Every day there is a forgetting and every moment there is the possibility of remembering. Remembering who you truly are, awakening to your body, to the inner world and experience of being alive.
Here is where you find the beauty, the joy. Here is where you free your Soma. Welcome everyone to the Free Your Soma podcast. Today's subject is going to be sound healing and specifically this incredible frequency that I just learned about called A432 Hertz.
I have an amazing sound healer and professional musician here today to share with us his knowledge and experience about this frequency as well as just the capacity that music has to shift our moods, to shift our consciousness and to help us potentially connect deeper with our bodies and the earth and the life around us. So welcome, this is Steven Rubio. Thank you for coming on Free Your Soma today. Thank you for having me Amy. I'm so excited about this. Great. I really, Steven Rubio did a TEDx talk on the subject of A432 Hertz.
You can actually see it on YouTube, which is pretty cool for anybody who wants to Google that. I'm sure we'll cover some of the same general information here today, but we're going to go a little bit deeper with it. We're going to talk a bit more about the connection between this frequency and the work that you do as a musician.
So first off, tell me just a little bit. How did you come about knowing about 432 Hertz? Well, I don't remember exactly how I came across it, but I think just me being open to that information is part of it because if you're not wanting to change, if you're not wanting to find out what could be better, what could be more, if you're not always trying to push the limits with what you're doing in your art form, then you might not be so receptive to someone telling you that maybe you've been tuning your instrument the wrong way your whole entire life.
Or maybe the music teachers at your music school have been telling you a slightly different way and there's a better way. So I'm pretty sure that must have been through, I love conspiracy theories and A432 kind of goes into conspiracy theory at certain points of it. Dealing with, people say that Hitler and the Nazis were in control of, and the Schiller Institute were the ones who wanted to make A440 the concert pitch standard. So I don't know, I think just wanting to go down these rabbit holes, finding this information on the internet and coming across different websites that were claiming that this was this magical frequency. And for me, it's like, okay, prove it. Let's research, let's find out.
Right. And so you've been really doing your own experimentation with this frequency since kind of your gaining of awareness about it, right? And it sounds like you're somebody who enjoys thinking outside the box, you know, with these conspiracy theories and different ways of understanding like stuff that sometimes might seem kind of bizarre and unexplainable. So, tell me a little bit more like, as you begin to work with this frequency, because you have a pretty significant background in music, right? Would you tell us a little bit about your background in music?
Sure. So, you know, I come from a family of musicians. My dad's a drummer.
My mom was a singer. I would always see them playing in their band, growing up, you know, and my uncle's a saxophone player. He's taught, he used to be the main music teacher up here for so long. I have other family musicians, my brothers and musicians. So, it was just growing up with that influence was super helpful, even if you're not practicing or playing per se, but just hearing someone play or hearing. So, I was always involved around music.
My parents listened to great music. They would sometimes even quiz me, okay, you know, the song would be coming to an end and they would quiz me, okay, what's the next song on the album? You know, before the next song comes up, what's the next song?
And put you on the spot. You're supposed to know the song order of an album. That's weird. That's not normal. You know, I know I came from a not normal sort of musician childhood. But really my musicianship, I guess you could say, started when I was around the age of 13. I didn't really take private lessons from my dad. You would think I would have taken advantage of that a little more and gotten. I was a decent drummer by the age of 13, but I didn't really, I hadn't done any training. So in high school, I got involved with all the bands, the marching band, the concert band, jazz band, and we had an award-winning, all of our bands were actually award-winning. We had a great school, great marching band and great drum line. And so I just was like, you know what, this is what I want to do. It was either video games or art or music. And I knew that, you know, I wasn't that great at art video games. I was just,
OK, that's kind of a hobby. We can make money on it now, but we didn't know that back then, right? Right. And you can make money at all those things, definitely. But I had to really follow my heart. And so my dad funded me to go to the Musicians Institute, which was really nice of him. And I did what any son would want there. Or, you know, I did what they would want me to do, which is just soak it up. I kept all the curriculum. I graduated from Musicians Institute in 2010. And that was for drums. I got a little bit of recording experience there. Up until that point, though, everything was A440, you know? And in my head, there was no other tuning. I didn't, you know, you don't really think of another frequency tuning, because honestly, because all of your instruments default to A440 and everything you do in your computer stuff, it just is A440. Every tuner you turn on, everything defaults that way. So why not? Why should I tune it differently? And until you find out about this extra little information that might be out there, you don't even really know it's there, which is interesting.
Right. Well, just out of curiosity to go down, like maybe just slightly like peak our head in one of those rabbit holes, what would be like the difference between A440 and A432 in terms of like, does A440 have some kind of resonance that's like more subdued or what effect does A440 have on like humanity if A432 is so healing? Well, some people say that, you know, A440 is kind of dissonant or that at least it isn't as harmonious as it as 432. I've heard a quote where they said 432 Hertz touches all 12 harmonic octaves, whereas A440 only touches eight out of those 12 harmonic octaves. You know, and I'm a drummer, I can't quite explain exactly what that means. But what I do feel and what I do know from playing in this tuning and listening and really feeling listening, but also how does this make me feel? How do I feel when I play this chord? How do I feel when I listen to this music? It's a really subtle difference. It's something that, you know, musicians, I can't I can't tell. Sometimes I think a song is 432 and I test it and it's not. And I might really love that song in A440 and I might really feel some great feelings from that. But in general, what I feel from 432 is I feel it's more. I would say more round if you were to give it like a visual. It's more. It's a little bit more relaxed, more.
What's the word? More complete, more whole, more less jagged, less, less aggressive and and you can really feel it in the song. And albums that are in 432, in my opinion, it really is something that I think musicians and non-musicians can feel. And we've also been voting with our ears and we don't know it, you know, with these album sales. When you look at the top album sales and the greatest the greatest selling album of all time is in A432 Hertz. So we've already voted. What album is that? That's Michael Jackson's Thriller. Oh, OK. I wonder if you think about it. Do you think he did that on purpose or? Well, I know that they they did that on purpose. I know that, you know, because you can't if you if you even if you tuned by ear, which is what back in the 60s and 70s, some a lot of times they would maybe hit the key on the piano or someone would hit a note and they would all tune to that note. Now, that note might be an A438 or A430 or A437, but to to to make it exactly A432 right on the dot every song, that's not an accident, because, like I said, everything's defaulted to A440. So when they turned on that analog synthesizer and we're going to add some tunes to the to, you know, beat it or whatever, they had to mess around with it to get it to be A432. It was not an accident.
Yeah, I mean, I kind of wonder, like, because you're saying it has this round tone, like maybe they were just like sliding the numbers and just being like, what sounds better? Oh, I like that one. Like they had some feeling come across, like maybe it was intentional and they knew about all this stuff or maybe it was like just this intuitive thing where they felt like, oh, I like it just right there, just right there. Like, don't don't turn it any higher.
you know, right? It well, it's interesting, you know, because they're not saying you look on the album, I have the vinyl record and you go through the liner notes, you look at the back, you're trying. I'm trying to look at interviews on YouTube. I want to hear Quincy Jones telling me like, yeah, we used A432 because blah, blah, blah. And there's really just nothing. It's either they never had that interview. They never spoke about it. They never no one ever labeled it A432. It took it took, you know, 40, 40 years and a nerd like me to kind of figure it out. And I had something else I was going to say to that. Oh, I think, you know, Beaded is on that album. I'm pretty sure. And Eddie Van Halen plays the guitar solo. And if you listen to the first two Van Halen albums, they're all in A432. So I can't help but wonder, did Eddie Van Halen bring this knowledge into Michael Jackson's life and go, hey, let's try this, you know, or did Quincy Jones go, hey, Michael, you know, you're up here in this range way up here. Let's just lower that frequency just a little bit and make it a little bit easier to sing. And that's that's one of the things about A432 that a lot of, you know, you can you can see interviews of Italian opera singers and people, you know, saying that, yes, when you lower the pitch and we're not talking about just going a half step down because that's a common thing to do. We're talking about changing the frequency center and making it just that eight hertz lower. When you try to hit those upper notes, it's not such a strain on your vocal cords and you wind up you wind up injuring yourself way less often if you sing to A432, supposedly. Fascinating. Wow. Well, you know, in terms of like the healing capacity of this frequency, you know, what what have you experienced like with because what you do is so interesting. You layer instruments on top of each other like you have a variety of different instruments and then you layer them using a loop, right? That's right, right.
That's your method. And yeah, when you're doing this with multiple instruments and they're all tuned to this A432, like you probably get a very strong frequency in the space because everything's tuned into that. And you've got these really intricate kinds of layers going on. What do you feel like personally, you know, you experience after an hour of just being absorbed in this frequency? Well, yeah. So when I do these sound bats and they're all in A432, I I feel so relaxed afterwards, you know, there you can't help it. Like, you know, there's definitely a part of it. You're giving this sound healing energy. But your body and your biofield is receiving that energy as well. You know, everyone in the room is feeling it. And so it's just sort of this this calm feeling. There's a lot of times where actually I'm a little bit nervous at the beginning and my heart's racing a little bit. And I'm, you know, and sometimes I'm trying to talk over some of the music that I'm doing and just get people to guide their own breath down. And I'm literally having to guide my own my own breath and calm myself down. And the music that's playing alongside it definitely helps when you layer, you know, and when you have that frequency range. When I when I mean frequency range, you know, your your low bass frequencies to your high, trebly, high hats and cymbal frequencies. And everything in between when you have when I layer a bass layer and it's nice and calm, that's nice in the bass range. Then I get like a mid tone going and that's kind of nice in the mid range. And then I might do something up high or have a bell or something. So you're getting a full frequency frequency range of of A432. And I want to reiterate to that, you know, just because the song isn't tuned to that or it's not in the key of A or, you know, it's let's say the song is in the key of D. And you're still playing in A432 Hertz tuning. You're using the A432 Hertz tuning set, which itself has that's where the the the healing power comes from. It's not that you have to tune every song to A or have or have 432 Hertz playing on every song as well. Or even octaves of that. Yeah. Anything within that tuning set is going to be supposedly and what I feel and what I believe is more helpful than our current concert pitch standard of A440. Yeah, wow, that's super fascinating. I mean, you know, this idea, you know, I think most of us just assume that sound baths are supposed to be relaxing. But I actually learned recently and I had some experiences early on that there are different kinds of sound bath techniques and that not all of them are supposed to be relaxing. There are some that are actually supposed to be kind of aggravating or yeah, relating or like triggering. Totally. Like there was a sound healer that I that I heard about recently who works with gongs and he said something fascinating about gongs that I didn't know about before, which is that the sound of a metal bowl and a gong is actually sometimes very abrasive to our nervous system. And we feel like impacted by it in this. It's a little rough on us, so to speak, right? And then shamanic sound baths that I've been to a few where they use very kind of strange, like ticking noises or these like sharp sounds to kind of like, you know, remind you of a dream state or take you kind of into another realm, you know, that has some darkness, that has some like edge to it. You know, that is uncomfortable, you know, and frankly, like I've had at those experiences after a sound bath where, you know, I expected to go in and like it's like I'm going to have this relaxing experience. And instead, I come out kind of shaken. I said I come out kind of like, you know, feeling a little overwhelmed or even feeling a little bit like, oh, what just happened? Like I'm stirred up inside. And so I find what you just said, even though it seemed very benign, you know, how relaxed you feel afterwards is actually like it's a specific way of doing a sound bath with the point being to relax you, not to necessarily stimulate, you know, a break, you know, agitate or stir somebody up.
Would you like to say something about that? Because I'm sure you've been exposed to other sound healing work. Totally. Yeah. So what you're touching on is called entrainment or brain. Well, it's yeah, it's entrainment, not necessarily brainwave entrainment, which I'll touch on in a second, but musical entrainment, I'm pretty sure means that you're taking the listener from an agitated state. Usually you want to take them from agitated to relaxed. In your case, you were talking about maybe the opposite happening where there was some relaxing noise and maybe they ended off with the gongs and the bowls and it left you kind of agitated, which maybe is not such a it might not be a bad thing. Like we think of agitation as like a negative emotion, but maybe it's agitated something inside of you that needed to be agitated. Sure. Yeah. But yeah, so you can use techniques of, you know, coming out with the music kind of maybe a little bit loud or maybe maybe even, you know, I've had this idea of using a 440 and using something that, you know, if I think it is dissonant, then I should use it that way, right? Like I could use that dissonance and that loudness and that sharpness and that angled sound and then dip it down to a 432 and have more of a relaxing softer, less busy, less busy sort of ambience. Like a juxtaposition so that people could maybe even sense and feel the difference. Totally, totally. And then, you know, then you can use brainwave entrainment. And all that means is you're using sound to help align people's brainwaves to that frequency. So I'm sure you've heard of binaural beats, right? Yeah. So binaural beats are a form of brainwave entrainment. There's binaural beats, there's monural beats and there's isochronic tones. And real brief, you know, binaural beats, they're basically panning a tone one tone to the to the right ear, one tone to your left ear. And then the frequencies are slightly off and your brain is creating an auditory illusion. It's not actually happening. But when you have, that's why you have to use headphones with binaural beats. Otherwise, they do not work. So you can listen to all the binaural beats you want on YouTube over your speaker system. And it's not it's not going to do anything. It's it's really not. It might be soothing to you. It might help you relax. You might even fall asleep to it. But. Anyways, Mono-Ruby beats, they're just doing the frequency right up the middle and they're detuning the two tones the same way, but it's just panned right up the middle. So with Mono-Ruby beats, you don't have to use headphones. And for that reason, and for other reasons that I've found, they seem to be more effective when I've looked into some of the research behind it when they've tested Mono-Ruby beats versus Binaural beats. I still need to look up more on this, but everything in my mind is kind of like leaning that way. But I really use them because I can go into a yoga class or I can be alongside a yoga instructor or do a sound bath and I don't have to hand out 15 pairs of headphones, right? Or I don't have to say, hey, bring your headphones for this one. And we're going to figure out a way to hook up all to the Bluetooth and pray that that works for all of us. No, I'm just going to put the Mono-Ruby into the I can put it underneath the music that I'm doing, or I can just deliver that Mono-Ruby. It's basically a sine wave. It's a very basic audio wave with no overtones because if you have overtones, it's going to affect that experience. So I can deliver that and it takes about five to six minutes. And then the listener will, their brainwaves will align to whatever frequency I put it at, really. So you can, you know, in theory, you could really, you could put someone to sleep. You could make someone feel really agitated and like they're angry and they need to just yell at the world or you can have them in a meditative state, you know, in anywhere between. Perfect. Segway into the next question that I actually wanted to address with you, which is just your talking about the way that these frequencies, like the one that you just mentioned with 432 hertz or 430 or any various frequencies, that they really literally shift the way our brains are operating. They can make actual measurable changes in our brainwaves and therefore also maybe in our consciousness or our mood or our state of mind. And this is pretty fascinating because I feel like, you know, when you say it like this, it sounds like this really big deal, except that I think that we've all been experiencing this with music, most of our lives, the way that music has this impact on us and the tone, the sound, sometimes it's, you know, if it's an album, like the recording quality of the music can all evoke a feeling and compel us to totally to do things or to dance or to cry or to emote, right, and express or can put us to sleep. Like you just said, totally. Would you say a little bit about, you know, because as a professional drummer, I'm sure that you have played in a lot of bars and you've played in a lot of different kinds of scenes, you know, and what what do you think is like so contrasting about music in that kind of setting versus a sound healing setting in an environment where we're really focused on sound as a way to nurture ourselves. What would you say are some of the differences? Well, I would say that there's just a major connection that happens when I am working with 432 Hertz and when I'm working in smaller groups, and when you're working with more silence and space than you are noise, I should or sound, I should say, lots of sound. It's complete. It's night and day difference. It's so funny that I was just in this cover band where we were, you know, giggling three times a month and playing these bars and I'm showing up and I'm dragging my drums there and playing until midnight and I don't drink, but, you know, I'm around all these people that are drinking. And then sometimes even the next morning, I would be doing a sound bath, you know, and a night and day difference having to be quiet and calm versus, you know, rocking out on the drums and being loud. And it's a difference in, you know, people are there to either listen to every note that you're doing and be affected by every note or you're sort of just background music or background noise. Or even if you're there to see the band, you know, there's a lot of times where you're going, oh, hey, you're talking to your friend, you're, oh, do you want to drink, blah, blah, blah, blah, because the music is just going by. And it's for a different purpose. It's for dancing. It's for, you know, entertainment. It's for, you know, it's for those things. It's not, it's not, it's not necessarily for healing, but that doesn't mean that when you go see your favorite band or whatever, or even a cover band at the bar, it doesn't mean that that experience is not healing because we all know that music itself is healing. Right. It just is a different intention behind it. Are you intending to go show off for your friends and make a, make a little bit of money? Or are you intending to really, you know, focus in on these six people and give them something that's real? Right. Well, and this difference can also be just broken down to environment. I mean, you know, like you said, the music itself is healing and there could be somebody, I'm sure there's somebody out there who like goes to a guar show. Right. Experiences some therapeutic. Totally. I am positive that there are folks out there that are, you know, emotionally and psychologically benefited by that experience. Right. And of course, it's going to be different for other people, but the environment and the intention of a rock and roll show, you know, or a bar is very different than the intention of like an ashram or a yoga studio or even like a, you know, temple of some kind where the intention there is really to connect with healing, to connect with, you know, our bodies, to work through things that show up in a calm and compassionate way. Right. Versus a rock and roll show is letting it all out, expressing being as big as you want, you know, maybe alcohol to forget your worries. Right. It's just, yeah, there's the disc totally and, you know, and the disconnect that you can experience from alcohol, you know, you're escaping in a way. You're escaping some of the things that go along with the night of drinking at a bar. You're probably numbing down your ears a bit so you can even endure the volume that's coming from it, you know, at least I know I feel that way. And with soundbaths, your people are there, they're either sober or, you know, maybe they're on some sort of other substance that might be more of a connection-based thing and more of trying to heal and trying to go deeper and instead of trying to forget and disconnect, they're trying to connect. And I feel that every time I do a soundbath versus playing drums at a bar and, you know, ultimately I'd like to play in A432, play drums at some place that is, you know, in a band where I can express myself but not be too loud and not blast everyone out and everyone has a good time and it's sort of the best of all worlds. But in my experience, you know, I mentioned this to my friends, I said, hey guys, let's try it, let's tune, you know, tune your instruments the other way. And bands have tried it here and there. I've recorded a couple songs recently with the band, I mean, that way and it just didn't stick and it doesn't, I'm not trying to force it on anyone, I'm not trying to make it stick. But I know that for me, that's all I'm going to play. I'm going to play in A432 the rest of my life. It's, I can feel the difference, I can hear the difference and the healing from it is amazing. Real quick, I did a tuning fork session on a friend. Well, first I did the Big Bear Yoga Festival and that was probably the most people I've had at a soundbath. I think we had maybe 20 to 25 people outside in the sunshine, full sun. And I went around with the tuning fork to each person and I said, here, take this crystal, hold it up to wherever you feel you need the most healing. And I'm going to come around with the tuning fork and I'm going to place it on the crystal and it's going to amplify that vibration into your body. And I did this on everyone and there were, you know, I would say that surprisingly, I'm not very sensitive to energies. I wish I was, I wish I had that ability more. But there were a few people where when I did the tuning fork, it was just like not only a giving of energy, there was a receiving of their energy to me and I felt some of their trauma or whatever they were going through at the moment. I had to, whoa, what was that? Take a deep breath, you know. So I had that experience and then I had a friend, I think I was on my way back from the Big Berks yoga festival and I had my forks with me and she had a hurt knee. And it had happened months ago, but she was still dealing with this knee that was just causing her a lot of pain. So I said, okay, let's try it. Let's try the tuning forks. Dinged it over her knee. You know, it's interesting because you're dealing with a person's biofield. You're dealing with this magnetic energy field around them and the sound and the vibration, you can really feel these pockets of trauma that happen to these people. So I wasn't even touching her. I'm feeling this pocket of energy and anyways, next morning she texts me and says, hey, I don't have any more pain in my knee. That was amazing. I said, really? Are you serious? You know, I thought I would just take away a little bit of her pain. She might feel a little better that night. She might sleep a little better, but I didn't think it would be that effective. So I started buying more tuning forks after that one. That's so fascinating. I mean, did you come up with that idea of the crystal and the amplification? No, I read a book called Tuning the Human Biofield by Dr. Eileen McHusick. Yeah, highly recommend that book. She has a new book out. I think it's called Energizing the Body or something like that. It's more about the electrical system in the body. In her book, she talks about using crystals to amplify the vibration. I use regular courts. I believe in her book, she recommends Lemurian seed courts. And I've looked at that in crystal shops recently and it's a little pricey. So that might be something I have to save up for, but for now I'm using the regular courts and I know that that will amplify the vibration as well. Right. And the forks are all in 432 Hertz. So that vibration is combining with the energy of the crystal. Right. They're either 432 or it's like C256, the C note in A432 or it's lower octave, 128. They're all just octaves of each other inside of that tuning. And I keep using them and keep having such positive feedback. I can't help but think that there's definitely some scientific evidence going on here that needs to be more, it just needs to be explored more. And when I did the TED Talk, I think that was in 2017. I was a few years ago. It's been a while, but I had to research. I already knew about A432, but I had to really go, okay, well now I'm supposed to be somewhat of an expert on this. I'm supposed to be the guy that informs people about this in this 15 minute talk that I have to memorize. Oh boy. And so I really had to take it seriously and dive even deeper into what I already knew in my heart was better, but now I had to find out, okay, why is this better? Or at least why does it resonate more with me? Or why is the best selling album of all time in A432? How did that happen? The Disney logo, that old Disney logo on those old Disney films. The little sound. That's very rough. It's got the dome. Totally. And that whistling sound. It's not ear piercing. You would think that it's very calming and invoking. And I put that on and tested it on my keyboard and went, oh my gosh, it's been in my face literally since I was a kid. It's been the best selling album of all time. It's Van Halen, Bob Marley, Soundgarden. All these bands have utilized it in either their singles or their albums. And it's, you could say, well, yeah, you have to have a great written song. You have to have great musicians. You have to have great production. You have to have all those pieces to the puzzle, obviously. I can't help. My theory is that A432 Hertz gives it that little extra spice, that little extra special boost that resonates more with people because A432 Hertz is based on sonic geometry. It's based on mathematics. It's based on the fundamentals that basically govern physics and our universe and that we're dealing with on such a macro level and a macro level. It's really amazing. And then my yoga journey has confirmed a lot of the things with 108 mala beads and 108 statues here. And all of those, those are just lower octaves of 432 Hertz. When you see the number 108 or 216, all of these numbers start really coming into play, making sense. And when you look at 440 and the mathematics of that tuning, it doesn't really make sense. It doesn't resonate with any other things so much. I have to wonder just about this way. First of all, let me ask you a bit about the history before I go on about these amazing little pieces that are coming together for me. 440 Hertz, when was that considered? What time period was that? The official, now this is what everybody tunes their instruments to? I'm assuming it was a European thing. And it was at some point in time, do you know? Yeah, it was between about 1932-ish and 1936 or 1938. And definitely mid 1930s. And it makes sense. If you're a traveling musician and you're coming from, let's say Europe to America or vice versa, you're going to want to be able to play in, you're going to want to play your instrument in tune with your friends in that new country. You don't want to be standing out as the person that's out of tune, right? So if Europe's on A432 and America's on A440 and we want to have a concert together, it's not going to sound very good. Right, okay. So there was it in the 20th century then, there's been this shift. And how was it before? Like what was the standard before? Like there wasn't a standard, like every country or every culture kind of had their own tuning that they would play in? Yeah, so they would just, yeah, they every country kind of had their own different tuning. There was A435 for a bit with France. And before that, there were, you know, there was 430 Hertz and I think they've tried even lower 420, whatever. I don't know exactly when they were actually able to measure the Hertz frequency of it. Because if you think about that, well, how did they even measure that? You know, because it has to be an exact number. If you go 437 Hertz versus 438 Hertz, well, you and I are not going to be able to tell the difference of that really, unless it's side by side right away. But you know, we're not going to be able to put a number on that. So I think the the invention of the tuning fork, I'm not sure if that was the first, the first thing that allowed us to do that. But I'm not even, I need to research more into how that came about. But I do know that eventually, in the 20th century, there, we just, in the 1930s, we had to, it was like, all right, we're going to make a decision. And that decision was for basically most of the world, or at least the Western, Western world was like, okay, we're using concert pitch standard A440, every instrument is going to be tuned to that. And you know, not only, not only tuned to that, but when you think about the manufacturing process of certain instruments, like the guitar for say, for example, when you have a guitar, it's intonated to a certain tuning. So almost all the guitars you see on the shelves today are intonated to A440, meaning that the frets, and the distances between the strings and the frets and all of that, I'm not really a guitar player, but I, I know enough that they're making their instruments, they're manufacturing their instruments, the size, the weight, everything is to that tuning. So you can tune that instrument to 432 Hertz. And that like that's what I'm doing with my guitars. And it intonation is off, because that guitar is intonated to a different frequency standard. So ideally, you have to take some of these instruments in and reintonate them to a 432 and then put them in a 432 if you really wanted to be precise, super precise about it. But really for, for everyone, for myself included, for anyone that's trying to play in this tuning, or, or even a 444, if you want to look into that tuning, that's another alternative tuning. Any of these instruments can do it. I have, I have a couple of keyboards here that can do it. This keyboard's from the 80s. And it actually just has a tuning dial on the side of it. It's really old school and it doesn't have, it just has sharp flat, with no markings in between. So I had to figure out exactly where A432 was by using another instrument in my ears. And then I just covered up that dial so that it can never be switched from A432. But even this instrument from 1985 can, can tune to A432. So I would encourage people to at least try it. Take your guitar tuner, change it to 432, play around in it, default your keyboard to 432, try singing along with it. If you have some tracks on YouTube or something, because you might notice a difference and you might enjoy what you hear. Cool. Yeah. You know, the way that you are making this music, you know, with the layers, with the research, you know, you're being very, I would say deliberate about your approach, which I think is really cool. You're creating something unique and you're gathering all these different pieces to bring into this work. You know, where, where would you see this going for you? I mean, as you're a yoga teacher, but do you kind of identify more as a musician and more like, you know, as you're moving from, say, the the bar scene into more of like the healing world with this? Like what, what do you imagine for, you know, how you'd like to work, how you'd like to transmit this? You want to create records? Do you want to do live events? Do you want to work with people like in close intimate settings? Just kind of check about that. Yeah. This is so cool. I love this interview, by the way. This is really neat. I have always thought of recording as, you know, as like when you hear or when you think of any band that you like or any group that you've heard, you think of those recordings you think of those songs you think of, usually the studio versions of those songs. And typically the band went into the studio for or not even studio first they came up with these songs in the rehearsal spaces first, or song ideas, they sort of polish them up before they went to the studio. They perfected them in the studio recorded them, and then they went out and said, Okay, now we have some songs to play guys now we know what we're doing. And we also have a product we have a vinyl record or a CD or cassette or maybe now we have t shirts, something that can you can sell alongside of your performance. And that's what I think of as a lot of like the success that we see from, you know, bands like Led Zeppelin or the who or, you know, name, name any band that you can think of they've had that success, mostly because they're so talented and they've worked so hard, but they've also followed this formula. Of like, crafting songs, you know, or crafting what you're doing first. And so I love that idea of recording sound healing music, and sort of crafting it in the studio, and then releasing it and when when you have a recording or when you have a song that goes out there into the world. Well, now it's something that people can listen to over and over again it's something a lot of people can listen to over and over again. When I do a sound bath for eight people. Those eight people get that experience in the moment and it's really high quality because it's in person it's you know it's it you're there. And, but then it's gone. And so part of what I'm doing with that is I'm recording the live sound baths I'm doing. I've been recording them. It's it's just been sometimes the performance doesn't go as planned or sometimes there is someone farts or, you know, whatever it is my instrument, craps out or, you know, there's just always a variety of things that happen and I can edit that out later but I'm working on doing basically a live sound healing album. Trying to put one out this next year I've got, I've been doing nature samples from this recording device that I have and, as you know the mountains are a great place to to hear beautiful sounds so I'm working on like I've got a stream sound some thunderstorm some storm sounds, you know, some birds and really I want to put out music that's useful to people. How are people going to use it. Yeah, how do you imagine like for meditation do you imagine for yoga do you imagine for, like what kind of setting do you imagine the music being played in. So yeah I would say for mostly meditation and for yoga, you know, for these instructors that are, you know, searching through their phones on Spotify and going okay well what am I going to play for my next yoga class. I sort of have to put myself in their shoes and go okay well what would what would I choose what would I pick some obviously you don't want to put on gore or something crazy death metal right. You want to soothe them into something relaxing and you know I'll go to the thrift shop sometimes and you always come across these like the CDs that you're like oh nature recording cool let me check this out. And I'm thinking, Oh, this is going to be great because I can take the birds from this or the whales from this and sample it in my music and no one will ever really know. But a lot of times those CDs or those albums have music underneath them, which is fine. Now I'm not knocking that I'm just saying that I feel like there's a use for only the nature sounds and when you give someone nature sounds you don't want to hear it on a compressed mp3 coming out of someone's speaker phone on their phone. You want to hear it in the most high fidelity way that you possibly could. So, you know you touched on the quality of the recording earlier and that's a huge thing is, you know, you can, you could put it in a 432 and have the best intention and have a great song and put it out there. And if you put out something that's just a compressed mp3 that's, you know, it's it compresses the quality, but it also compresses the sound healing potential. And I'm not sure if those are like relative to each other you know if you if it's five times less is it five times less effective sound healing. But I do know that you know that really matters and so I'm trying to put out super high quality nature samples that are super useful for people. A live sound healing album and then, you know, I'm all over the place I got asked to do this Christmas show at the tutor house and they said okay well we want you to do sound for this which to me honestly is. It's not that exciting, especially since I don't really do sound that often and I, I don't really know their sound system that well like I'll figure it out you know. But for me I'm just like, okay yeah I'll do it I want to help my friends out but then they said okay well, and if you have a song idea that might work well for the show, you know, maybe we can throw that in there. And immediately after I got off the phone with her, I had this song idea this Christmas song idea it's called last on his list. And it's about feeling like you're on last on Santa's list you're feeling left out and it's sort of a it's a happy sounding Christmas song, but the lyrics are kind of sad. And yeah and I'm loving it and I'm recording it and I'm so I'm doing that and it's too late to put that out right now but I'm going to put it out next Christmas and I'm just like, you know that's an a 432. Of course, you know, and one thing I want to mention real quick before I'm sorry I ramble sometimes. No, it's fine I got a question for you whenever you're whenever you're ready for it. This kitty likes to climb on my keyboard but I don't like that. You know I'm doing this Christmas song and I'm using these virtual instruments that are sampled there, you know someone went around and sampled these amazing keyboards and it's, you know the grand piano sounds like you're at a grand piano. Anyways, I'm using a 432 and they did an update to the thing recently and some of my instruments will default back to a 440. And sometimes I don't notice it sometimes because I have to change it each time I open the program it seems like. So I'll export the mix. I'll listen back to it and some of the chimes that are going on are in a 440 and the rest of it's in a 432 so it sounds a little off. But I'll tell you this much when I switch it back to a 432 and I listen to the mix back. Not only is it in tune and it sounds better, which is like, duh. It is louder. It's louder and I didn't adjust the volume at all. And it's because of that resonance. Yeah, yeah 12 you said, verses eight. Right, it's resonating. Yeah, it's super in tune with everything that's going on and because the waves are all in tune like that. They like amplify each other, you know, when something so in tune like that. It's kind of like the concept of like, you know, people can break a glass with the with their singing if they. Right. You're finding the resonant frequency of that object and you're matching that pitch. And if you intensely match that pitch with enough amplitude or with enough volume. It will break and so it's kind of the same concept if you just match the frequency of the song. It's all of a sudden, like this nice loud full thing, you know. Wow, yeah, I mean, but I feel like that can definitely happen like, even with our voices and conversation like have you ever met somebody who talks really fast or talks really loud and like, all of a sudden you're talking fast and you're talking loud and like your frequencies are starting to like, match each other. Totally, I didn't get amplified. Right. Totally. Yeah. And, and, and when everything's all dissonant to it, it actually winds up not being very loud, you know, because it's not, it's not resonant. I mean, you can have a lot of loud dissonance. I'm not saying that it's just, it doesn't carry, you know, it's not in harmony, it's not in the flow and when you have stuff that's in the flow or when it's in that frequency. It's just, it's more effective, it's more harmonious. It's, yeah, it's, it's better, better that way. Awesome. Well, you know, it's, again, this juxtaposition of like going from drummer in a band, you know, playing at bars to moving towards music as a way to connect people and, you know, create more harmony in our physical experience, right? Right. This has to have arisen from something in you. I mean, you went through a yoga training, but more than that, there, you know, would you like to share with us any kind of story or experience that you went through that led you to feeling so compelled to do this kind of work to be part of a healing community for others? Yeah. You know, maybe it's just, you know, maybe it's just my wanting to help other people and maybe that stems from like a lack of other people helping me, you know, like sort of like, I don't know. I lost my mom at the age of 18 to cancer. I'm not sure if that was part of it or if that like sparked more drive inside of me or what, but I think, you know, I remember distinctly back in high school in the drumline. I was, I was new in the drumline and I think on the, I think I was on the symbol line. I mean, it might have been on the bass drum at that point, but I don't remember. But I remember you're standing at attention. It's just a rehearsal, but I remember our instructor Phil, he asked everyone, All right, who here wants to be the best? And everyone raised their hand, except for me. And he walked over to me and said, Okay, you, why didn't you raise your hand you don't want to be the best. And I said, No, I don't, I don't, I don't really care to be the best and I don't know if I said I want to be different but that's really what I should have said and that's how I feel is I don't want to be the best and who's to say who's the best anyways you know I could say that who so and so is the best drummer, but then the next person next to me is going to say well no I think this person's the best drummer or this person's the best band or whatever. It's really it's kind of an opinion based thing. Right and it's a competition based thing. And it's competition based exactly and why do we need to be the best. Why do I need to out do my neighbor, you know, it's going back to hierarchical thinking versus like looking at other people as like, I guess not necessarily equals but equal in terms of also being human beings, you know, with, with varying opinions and varying cultures and backgrounds and the things that we had, you know that we came into the world with our setup all of that's perfectly like unique for each person. And at the same time like where we're equals in the sense that we're all like a person, taking up a certain amount of space in the world transmitting a certain type of energy and this is a fundamental part of like most spiritual practices is being able to see other people as your equal and treat them with that level of respect versus seeing everybody's competition. Right and see someone to overcome or someone to one up right right right. And to me, you know, the best, the best bands and the best albums even and my or I shouldn't even say the best I should say my favorite, my favorite bands and my favorite songs and my favorite things tend to be the second best ones, you know that they're not not their best album, but I like their album before their best album or after you know the one that people consider almost their best, but it's really different it's really unique it's really they push the envelope they challenge themselves and, and out of it came something special that maybe not everyone maybe it doesn't get onto the radio or maybe you know they're not playing it every day, but I might. Usually that's the type of stuff I enjoy so tying that back in with the tuning. I think, you know, when you, when you have to change the default tuning of your instrument and when you're, you know, here's this younger drummer coming into the band and saying I should tune my guitar differently like, who is this guy, you know that's the reaction I've gotten. And it's, it's me. It's part of it is like that rebelliousness, I guess you could say is like, no, I'm not going to do the same thing you all have done for the past 100 years like I want to do something different and who's to say that, you know, I could be wrong about this whole thing I could be wrong about a 432 and everything but. I'm still in tune, like I'm still picking a tuning standard that's in tune, and I'm still using the musical laws and, and the, you know, the rules that we go through with rhythm and melody. I'm still using that and it still sounds great so who's to say that that that's wrong. It's just different. Right. So, even if it may not be better which I truly believe it is but even if it isn't. I'm just doing something different, you know, and, and that's part of it to all to say hey guys let's let's try this tuning let's do something different. I don't want to do that. Whatever their excuses. It shows me right away I get to see. Oh, how open minded is this person. And then that really actually kind of helps me with like, you know, with musical decisions or songwriting or, you know, because later on I might say hey what Hey guys what if we do this on the drums on this part, and they'll go. No, no, I don't want to do that because of that close mindedness. Right. I'm partly I'm testing the waters with seeing if they are even open minded to trying it. Yeah, and I mean what you sound like and what you kind of expressed multiple times during this interview is that you really are here to innovate and to do something that breaks some new ground, you know, put something out into the world that like is unique and isn't just like everything else that's out there and that's what I found so fascinating with the, you know, you have a recording out right now that I have listened to of your sound healing, and it's amazing, really quite like unique. Thank you. The soundscape, right and it has these layers, but there is there's like this roundness to it that you've described there's this wholeness to it. There's this big quality to it. You know, and when you hear it you kind of like are like, oh man, like I can tell that that would be really powerful live, you know, in the right kind of space to like amplify that sound, you know, and coming back to, you know, some of the things you said about about losing your mother and about, you know, being someone who was not necessarily helped maybe at different times when you needed help, actually motivating you to help other people I think that's really quite an interesting thing because we don't necessarily realize it while we're in it, but going through grief and hardship and having like the world or the universe kind of take something from us. Right. It brings a lot of compassion and a lot of respect, honestly, for life, or it can has the capacity to do that. And it can be a over time you know grief, grief feels like a weight in our bodies and it feels like kind of this black hole sucking inward, right. Right. But as we learn to actually compassionately handle our own grief, or even receive that compassionate handling from other people. What I've experienced is that more and more we can build, you know, a simultaneous level of compassion, as we are moving through and experiencing the the waves and the undulations of something as heavy as grief. Right. And so it doesn't mean that you that you say that that was part of your healing and kind of like heart opening, awakening journey to lose your mother, you know, which I'm so sad for you. Sorry for the 18 year old you that had to go through that, you know, nobody can lose their mother but well maybe some people do but I think you're one of those people. No, yeah. So, you know, I feel for that experience. And, you know, it's part of what you're doing now in its own way, if that makes sense. Totally. And, you know, when I when I do these soundbaths if I've noticed if I just do I used to just play the music like minimal talking, you know, okay, relax, lay down. Okay, let's go and fill the time with sound, you know, then I went to the sound healer who she left about a half hour. And I was I was I kidding you is like 20 minutes plus of silence. You know, not not not not ending it with silence, you know, bringing it back, but there was a period of like I was going like wow you're getting paid right now to just to do nothing like literally like, and I learned from that like there is an aspect of silence that needs to be along along with the sound along with the healing. Along with the giving of the frequencies there needs to be the silence part so I've been incorporating that into the sessions but another part of it is incorporating some sort of intention or some sort of connection to your family or your friends or a value in your life that or something you've been working on, you know, and hold on just a second. There we go. If if I don't connect that intention. If I don't talk a little bit if I don't tell people that they need to imagine someone that they love and to send that love to them or whatever you know the meditation part of it is. I, you know, I don't get people crying. I'm not trying to make people cry, but you know you're touching on grief, and we're touching on like deeper traumas sometimes when we, when we do these sound things because it gets you down into those lower alpha and lower like, I think it's theta brain brain patterns. And you're also so relaxed and, you know, you're, there's just this, you sometimes tap into those traumas or sometimes you tap into those griefs. And it's not necessarily about that. right? Because we all need to process those things. And so part of doing these sound healing events is trying to make that connection with people, but more so they're making a connection with themselves, or they're making a connection with that loved one that they lost, or with their husband who is having a hard time, or with their son who's going through drugs or whatever. And when you invoke that connection, intention, and then the music all at the same time, it's really powerful. And it's no wonder why some people leave in tears or, you know, want to just give me a hug afterwards. And that's the real connection part that we're talking about. And the only time I ever get tears when I'm playing at a bar is if they're so drunk that they're crying, you know, it's totally fall over and smash their face. Right. Right. And instead, I'm making a real connection with this person, they've made a real connection with something in their lives. And at the very least, very least, they're, they're at a space for an hour that's safe and relaxing. And the tones are relaxing, whether it's an A440 or A432, you know, the music is soothing. But like I said, when you make it high quality, when you have high fidelity music, when you put it in A432, when maybe you use some form of brainwave entrainment, when you connect the intention, when you get all the pieces to the puzzle going, and you deliver that in person, it's a really powerful thing. And it's much more powerful than just background music at a venue to me. Right. And so that, so my life is totally just pointed that direction now, I'm fully committed. And I'm really excited for this next year, actually. Beautiful. And that what you do, what you're describing that you would do it to connect everybody at the beginning of a session, or you know, at some point during the sound healing session, I'm just supposing it's at the beginning, you really are calling them into loving kindness, you're calling them into a meta type of meditation, where that's a very powerful frequency that you're inviting their bodies to start emitting into the space, which is compassion for other, other beings. Right. Maybe it's right. Maybe it's for someone else in their life. Right. So I think that's just fantastic. I think that's totally where it's at, especially when you're really trying to create a space of safety through the music, through the energy in the room, by connecting people to that kind of loving kindness and, and heart space. So bravo. I wanted to tell you something that you said earlier, that I thought was fascinating. It was almost in the same sentence, you said, I'm not particularly sensitive to energy, I wish I was. And then you described these pockets being sensitive to energy. I described it, and you described these pockets of energy, and maybe another way to put it, you know, because everything is energy, is that maybe you're not sensitive to energy in terms of like the chakras or like seeing auras or something. Maybe your way of being sensitive to energy is being sensitive to sound, because you are definitely sensitive to sound if you can tell when the chimes are off by eight hertz in your. Yeah, no, that's, you know, that's interesting. I never, I never really thought of that, that way. And I, like, I really appreciate you saying that. I think, I think you're right. I think I have the ability to be sensitive with sound and even with, with touch and feeling, because when you're using the tuning forks, you know, it feels like there's a magnet pushing against your tuning fork in certain, in certain specific areas. That's, that's the closest feeling I can relate it to. And I'm sure other people feel that too and hear that too, but that's really cool. Yeah, you know, I was talking about it with my landlord recently, and she said, you know, yeah, you're special, you know, not everyone goes to the grocery store and wears earplugs. Because I do most of the time. It's, it's kind of this overwhelming experience where there's the music's a little too loud, the beeping from the checkers is too loud, or the people are talking a little, someone's on their phone. Ah, and, and I guess I'm just sensitive to sound. So that's my gift. Yay. Right. Yeah. And then looking at how way the tuning forks create those bubbles, I thought that was also kind of like fascinating, like you're describing being able to feel like this pushback, right. And I've been doing this with a few, in a few different ways. This was kind of the thing that was like earlier in my head. I was like, whoa, putting things together. But when certain experiences and certain things happen, different kinds of traumas, whether it's a physical trauma, like twisting your ankle or breaking your leg, or whether it's an emotional or psychological kind of trauma, some kind of life experience, right. What I have found in my own kind of intuitive studies and learning, and then what I've heard from various other people is that we can create like these, I would say like leaks or gaps in our aura. Some people have even talked about specifically like drugs and alcohol and certain kinds of substances creating like these cracks or these breakages in our auric field that are then we're losing energy. We're losing energy through this because there's been some kind of like structural damage to our bio field. Right. That was what I immediately thought of when you were describing your friend and her knee and the tuning forks and the way you could feel this pushing back. It's like you've come to a breakage point. You've come to space in the bio field that has some damage and you're feeling their life force pushing back out and you're receiving that as maybe a feeling or I've had it at different times where I'm working with someone and I feel like it's like their memory comes in and I have like a flash of something that probably happens to them. And it's totally weird stuff. I don't talk about it that often, but I've definitely- No, that's really interesting. Experiences where it's like I get this like flash of like something that happened once upon a time and it's a momentary thing like a flash and a dream and I feel like we're talking about the same thing when we're talking about this like breakage in the aura and the energy coming out and it's being received by others. It's being felt by others in the field. That's how you can tell when someone has been through something. When someone's in a dark place and there's this like you know you feel that just by looking at them, right? By being in presence. So I don't know if you've ever heard about any of this stuff that I'm talking about. A little bit. But there are things we can do like what you're doing with the sound healing, what you're doing with the tuning forks at this healing frequency, this frequency of the universe, right? You are helping to fortify and rebuild and mend those breakages in our biofield. Right. That's what came to me really clearly while we were talking.
Yes, yes, totally. Dr. Eileen Mikusik is a she's probably the best example of this. She can take- she can put you on a table, do the tuning forks on you, wave it over your body for a little bit and go. Did you have an issue when you were about seven years old with your dad involving like moving forward in your life? And you'll be like, oh my gosh, when I was seven, you know, my dad like left and we were going to move to this new place and she can diagnose the body based on these pockets of trauma inside of our aura or inside of our you know our biofield or our electromagnetic field. Whatever you want to call it, it's the six foot energy field around us that you can't see. And we're interacting with it all the time and when we you know and it's interesting that it's six feet because if you think about COVID they're like, okay keep your six foot distance. Well, I can't help but think like if your biofield is six feet and there's a six, you know, they don't want our our fields interacting for whatever reason and that could be good or bad but Dr. Eileen Mikusik also has a theory that our memories are stored in our biofield
and I've heard about this kind of stuff too about the memories and that's part of what I think I've experienced when working with people, right, is this you know and that's something you know for me personally I do this somatic work in person like hands on and then I also do it over zoom and what I've found is very fascinating by doing the work over zoom is just like that little bit of space that we're like creating in in the sense that we're still connecting like you and I are here we're sharing the frequencies of our voice we're looking at the expressions on each other's faces like I've met you before in person so there's definitely like a blending of our auras on an astral plane but it's not the same as being in person and so this kind of almost like this is a kind of a crude kind of a crude way of putting it but it's almost like there's like a condom or something like we're a little protected right from that really direct like influx of like whatever my biofield the memories and the traumas and the things right they're not so directly coming into yours and and blending because we have this little bit of distance of the electronic you know system it's not to say that we still can't tap into those things but we have to do it a bit more intentionally I think totally astral like technological plane versus in person it's just happening like we can't really stop it totally you know
right and you know and one thing I want to touch on real quick is like you know when you talk about the technological plane and and all of that you know at that point we're in we're in digital we're dealing with zeros and ones we're dealing with something that is now measurable as far as quality goes you know when you have a 1080p monitor or when you have a song that's 44.1 kilohertz you know sample rate these are all measurable things because we've digitized them you and I have digitized the screen right now and we're going over an internet connection when you do that you almost always lose quality no matter how high of a connection you have when you're you know when when when they measure music on tape they measure they don't that you can't measure the bit rate and the sample bit depth and the sample rate which is basically the range of frequencies from bit depth is the volume from the lowest whisper to the loudest thing and the sample rate is the lowest bass frequency to the highest treble frequency and so we use those two pieces of information when we talk about digital music or or movies or whatnot and you can record in really really really really high quality like I mean that's what I'm doing digitally right now but the best way to do it is analog the best way to do it is on tape the best way to do it is in person like what you're saying with your clients it's you can't it's you can't measure it at that point it's infinite bit depth it's infinite sample rate it's infinite there's an infinite range of colors that I'm seeing from your face there's an infinite you know it's it's it's life that's real organic life versus like a visual representation or an audio representation of life so that that's why I think you know I'll keep doing at least a soundbath a month is what I'm planning on doing alongside of releasing these recordings so that way I can have that in person connection but I can also release these really high quality digital recordings that people can enjoy on their own time.
Yeah I mean I completely agree with everything you said in that that infinite quality of what it is like to stand in front of another person I mean I think everybody can connect with that like knows exactly what you're talking about because there is that you know to be in like the presence of another person especially if it's someone who you know is is expressing or sharing or caring or nurturing for you in some way is a powerful experience right but at the same time what's sort of fascinating about this you know internet work that I'm doing is that sometimes especially given like the very sensitive nature of this work there are people who I think do better with it with that like little bit of distance kind of like I think yeah therapy has actually gotten more people to go to therapy you know because they don't have to leave their house and walk into a building that says you know psychologist on it you know they don't they can just be in the comfort of their own space and they don't have to have that kind of like confrontational experience of being in that infinite space with someone right and for me with the hands-on work you know I did a client I had a client recently who he told me like a couple of minutes into the session and I mean I could already tell but like he just told me that it'd been like six years since anybody had touched him and I was like whoa you know like I could kind of feel that but it brought an awareness to me of like for some people it can be a really big deal to have someone put their hands on them and do this kind of work and so there's a certain level of I feel like accessibility that being able to work with me over zoom and still get like really amazing fantastic healing benefits from this sematic it's it's it has its own benefit in its own totally totally yeah in the same way it's like not everybody's going to go to a sound bath but they might look up some relaxing music and find your music online and it might really soothe them and help them and they might really connect with it but they wouldn't be the type of person who would feel comfortable walking into a yoga studio for a sound bath
exactly yeah it's about you know using the tools we have in in the moment you know and using the technology that we have and and delivering the highest quality that we can in that moment you know and so for me that starts with the tuning it that's that's a huge quality thing and a lot of musicians they to me they bypass step one they just go concert standard okay we're good and now let's record and then when you record you have to record at really high quality if you're going digital or you have to record on tape I mean those are you you're competing unfortunately you know we talked about competition but at a certain point you are competing with with other sound healing musicians in the world if if you're putting out music or you know you're competing with whoever is in your art field so it's it's you have to give it the best shot and the best shot is putting out the highest quality product that you can whether that's in person or you know not in person
yeah I mean that's that's really what I think success comes from like like true success like success that's not just measured by money or metrics or likes on the internet or whatever but but true success that we can feel like satisfaction inside of ourselves that perhaps is also mirrored in the world it comes from a place of doing our utmost of actually delivering something that we feel is in full integrity right as a dealer as a musician or as you know a therapist or as an artist like you want to deliver something that is truly like authentic and and and honest and and utmost is the word that keeps coming to my mind about it
yeah yeah and some of these things are etched into time you know or they're etched into the vinyl record or a CD or a sound recording that you really you don't get another chance to go back and and do that over and same thing with when you're working with someone in person in that moment especially like you don't get to do that moment over you know if you're walking around with the tuning fork and you actually drop it on their face or step on their their finger that's not a good that's they're gonna remember that you know and that moment is kind of etched in time and so um giving your utmost in that moment it's so important because you don't get another chance you don't get another try and you know with recording you can do multiple takes and and perfect things which is partly why I I like that I like that you can craft these beautiful pieces of art and then put it out there and it's not it's not so in the moment like playing in a band where it's just oh here you go here's what it is um so I feel like you know with that craft you can really hone in and and and make this really effective piece of art for someone that can last the test of time you know
yeah I mean that's yeah that's kind of the the bigger vision right is reaching a larger audience with something that's really from from you you know this authentic up most way and then having it live on like as a legacy or something like that you know that's what we have when we listen to classical music like Beethoven or you know these different songs that have been around for hundreds of years folk songs from you know different parts of the world or you know rhythms that you know are being drummed out and you know music that's been being played for thousands of years it has like this certain quality to it right of just this like legacy and then these little smaller legacies are being created all the time by other humans by other groups of people who are who are forming something and so you know and it all inspires the next thing too absolutely so this is wonderful I'll be so excited to check in with you um and have another interview at some point we can check in with how it's going with your recording um definitely there will be for the listeners there's going to be information about Stephen Rubio and his music in the show notes but maybe you also want to tell people where they can find you where they could interact with you maybe where they could download a song
sure so I came out with a meditation album recently called soul scapes it's out on all the different platforms so you can search Stephen Rubio soul scapes and each of all of the tracks have monorail beats in them and except for one of them which is just I had a monorail beat in there and it was a rainstorm it was a live thunderstorm that I recorded up here and it was just actually a little bit distracting from the rainstorm so I wound up taking that out but essentially every track's in a432 every track's in ultra HD every track has a monorail beat um and I really made it I tried to to just make it simple and try to make it this nice meditation album so you can find that on all the different platforms if you feel like connecting on Facebook it's facebook.com slash sound with Steve and the bigger thing I'm going to be pushing this next year is my instagram which is 432 hertz sound baths I'm going to be putting out a post today I'm going to be putting out lots of new videos and talking about albums and songs that are already in a432 hertz that you never knew I'm going to be talking about music that I like I'm going to be showing off some of my weird instruments I'm going to be doing a bunch of different things with that channel so 432 hertz sound baths on instagram
sweet oh thank you so much this has been such a fascinating conversation I have learned so much about instruments and sound and and a lot about you know what you do and kind of what you're bringing to the table when it comes to creating an innovative sound bath so thank you for joining me today it's been an absolute pleasure
oh thank you so much for having me I really enjoyed this it was great excellent
well I'll be you know Stephen and I are practically neighbors we live on the same mountain so I'll see you on the mountain I'll see you around see you at Stater Brothers thanks Amy you've been listening to the free your soma podcast to find out more information about today's guest check the show notes and to find out more information about me Amy Takaya and the radiance program visit www.freeyoursoma .com
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