Sound healing is a complex subject involving physical and non-physical aspects,

however from a physical perspective the most important aspects are:

Specific frequency or tuning (hz), wave-forms of these frequencies and harmony between the frequencies.

 

The equal temperament tuning we use today uses note frequency’s that were chosen for economical reasons,
and are in fact slightly out of harmony/tune with each other,

some people say this is what has caused the slight disharmony in our society.

The A=440hz standard reference pitch has an even stranger background involving

a Nazi called Goebels and other odd folk.

 

There are however many scales and tunings that are in perfect harmony with themselves

(all the frequencies divide perfectly into each other)

Perfect harmony in music creates harmony and health in the listener,

whereas disharmony in music creates disharmony and ill health/thoughts.

 

If you think this is a subject for freaks and geeks, think again.
Many big names/studios/orchestras have and still do use these techniques/tunings,
they just don’t talk about it much.

 

DO IT YOURSELF:

A good place to start is to re-tune your synth’s master pitch to escape A=440hz
and find a different master pitch.
In my opinion ANY pitch will better that one chosen by a Nazi.

There are 2 ways to change a vst synths master pitch:

1:Use the master pitch adjustment setting on the synth.

2:Use a .TUN file to over ride and create a new master pitch.

An interesting master pitch many are using today is A=444hz,

when using 12 tone equal temperament scale
this makes your C into 528 hz.

Check that C=528hz with tuner or tuner software to be sure as this is the important note,

(444hz is just your reference pitch here)

528hz is known as the love frequency by many healers and is also the magic note in the
Ancient Healing Solfeggio scale. (more on that later).
On the colour spectrum 528hz is green,
the colour associated with the heart chakra by healers and mystics for centuries.

Genetic scientists also use this frequency to repair broken DNA strands.

Obviously this method only has the 528hz effect when your music is in C,

because then your root bass note and most sounds will be octaves or harmonics of 528hz.

A beter method is to use .tun files to change your synth’s master pitch to C=528hz

and leave A out of the picture  altogether.(read on to learn more about .tun files).

 

Another interesting master pitch often used is A=432hz.

This frequency (432hz) is also known to have healing/magical properties,
and was widely used before A=440hz was enforced.

When you tune to A=432hz (using equal temperament scale),
Then the next C comes out just a little above 512hz,
If you use the Pythagorean 12 tone scale,
then it comes out at exactly 512hz.

My track “Ancient Structure” under “Music-Space” was made at  A=432hz using such a scale.

(If are using .tun files you can also just tune to C=512hz and forget the A)

The octaves of C=512hz are very interesting numbers:

4hz, 8hz, 16hz, 32hz, 64hz, 128hz, 512hz, 1024hz, etc

This sequence of numbers is the code by which living cells divide

and is used by many other things in the universe as a map.

I believe  computers should resonate in some way to this

and octaves/harmonics of this frequency because the computer memory itself operates in octaves of 512hz.

 

 

RE-TUNING SCALES

One of the main reasons why people retune their scales,
is to have notes with frequencies that are perfect multiples of each other and so resonate smoothly together,(music is maths).
Many musicians do this simply to get “sweeter” sounding harmonies.
Harmony in music = harmony in the listener = healing.

The name used today for such a scale is a “Just-Intonation” scale.

A “perfect” scale however, can only be played in the same key as its root note,
playing it in a different key requires a complete re-tune of the instrument.

 

For example when using equal temperament with a master pitch of

A=444hz, you can play music in C or any other key and it sounds fine(ish)

(if you have never heard a perfect scale before)

However with a perfect Pythagorean scale, if you tune your master pitch to A=444hz

and play in A, then it sounds better and purer that equal temperament,

but now if you try to play in F or C (while A is your root note), then it will sound very out of tune.

Nowdays it is possible to change keys with vsts by simply duplicating the track and loading a new scale with a new root note on the copy, so when you change keys you actually change instruments.

 

All music used to be made like this and tuned with purpose,

Pythagoras even had a different scales for creating different moods and healing various ailments etc.

Then equal temperament was invented,
it “tempered” the tuning and made a scale “playable” in any key without re-tuning.
But also made a scale with imperfect harmony’s and no major healing possibility’s.

We have become used to it now,

and  don’t even have anything better to compare it to anymore

but when it was first invented, people hated it because it sounded so horrible.

 

Re-tuning the individual notes of your synthesizer or other musical instruments
out of equal temperament into another scale is called “Micro-Tuning” and is actually an ancient art.

 

The best way to tune vst synths is is to use .TUN files,

they work on many vst synths like Albino, cronox and z3ta

and can be created using micro-tuning software like Scala.

However these programs mostly use commands and are very hard to use,

so I have made and posted some useful ones in the .Tun Files category,

I will post more if there are many downloads, (if you want a special one made please contact me)

 

.TUN files can be programed to over ride the vst synths masted pitch and create a new one,

this is what I have done with these ones ,

the root note (note 1 in scale) and master pitch are also part of the file name,

making these .tun files very user friendly.

 

If a synth or midi-tuner only adjusts in cents or percent,

then frequency-analysing software can be used to accurately tune your notes or master pitch.

It is actually wise to use analysing software all the time anyway,
to make sure that your synth really is doing what it say’s it is (not always the case).

There are millions of scales and even more theories on which are the best.
But at the end of the day, if a scale sounds good and feels good then it usually is.
If you find one that sounds and feels better that equal temp then you are on the path.

Often science says that a certain scale or tuning is good but when you try it,
it feels and sounds bad.
I find it best to follow my feelings in this situation and not my head.

 

Another one of my favourite master pitch and scale combinations is A=417hz (master pitch)

with a 12 tone Pythagorean scale.

With this combination A flat=396hz, A=417hz and C sharp=528hz,(first three solfeggio tones.)

 

12-tone Pythagorean scale:

0:          1/1               0.000  unison, perfect prime

1:       2187/2048          113.685  apotome

2:          9/8             203.910  major whole tone

3:         32/27            294.135  Pythagorean minor third

4:         81/64            407.820  Pythagorean major third

5:          4/3             498.045  perfect fourth

6:        729/512           611.730  Pythagorean tritone

7:          3/2             701.955  perfect fifth

8:       6561/4096          815.640  Pythagorean augmented fifth

9:         27/16            905.865  Pythagorean major sixth

10:         16/9             996.090  Pythagorean minor seventh

11:        243/128          1109.775  Pythagorean major seventh

12:          2/1            1200.000  octave

 

The SOLFEGGIO SCALE. is an important magical/healing scale that many people are talking about these days.

(see charts at bottom of page)

 

I made some very interesting discovery’s while working with this scale.

That being when I re-tune the master pitch on my korg m2-20 (analogue synthesiser)

so that it’s A is the same as the solfeggio RE (417hz)

and turn up the resonance to bring out the harmonics (while playing A)

then when I sweep through the them using the high pass filter

they (the harmonics) are exactly the same intervals and pitches as the solfeggio scale

with the exception of UT (note 1) which is just not there.

it is easier to hear the harmonics if you play the A 3 octaves lower (52.125hz).

It is also possible to sweep higher or lower and hear notes above and below the known solfeggio,

(The real “lost” notes?).

I have posted this file in the “Solfeggio Tones” post, it is called “korg solfeggio”

 

Korg Solfeggio 52.125hz wave image

Korg Solfeggio 52.125hz wave image

 

If you listen to the file  ”Sweep RE – LA” in the “Solfeggio Tones post” (sine waves)

you will hear that all the intervals and tones are the same as the harmonics in “korg solfeggio”

and that they sound very familiar when you slowly sweep through them. (ancient universal memory?)

 

I now recognise these harmonic intervals as being the same as those in

overtone chanting, digeridoo, jaw harp,  analogue synths, and probably all natural sounds.

If you are making music using these natural methods then the overtone intervals are always the same.

However if you want the overtones to be the exact solfeggio pitches too then as I said, tune your “A” to 417 hz . (this only works with drone instruments playing only A=417hz or its octaves).

 

You may be wondering why RE or  A=417hz (note 2 in solfeggio)

seems to be the root note and not UT 396hz (note 1 in solfeggio)

This worried me too until i found a chart explaining that UT 396hz is the preparatory tone,

to prepare youself for the next five tones, so in a way note 2 (RE) is actually note 1 in the scale.

This is why I first posted “Sweep RE – LA” without UT (before I saw the chart),

because it was dissonant with the rest the tones.

The 5 tones  RE, MI, FA, SOL and LA can all be played simultaneously

and produce a lovely pure chord without UT, which it seems should be listened to first separately.

 

Below are 2 Charts that I found online:

 

Chart 1.

The Solfeggio Scale

Ut – 396hz -  preparatory tone to prepare the body, soul, and spirit to receive the next five tones

Re – 417 hz – tone to begin resonance with the Divine (resound or balance frequencies)

Mi – 528 hz – tone to begin healing and extraordinary changes (miracles)
Fa – 639 hz  - tone to seek out limitations imposed upon us (slaves to mindsets)
Sol -741 hz -  tone to loosen, release, unbind, untie, open, free (solve, resolve)
La – 852 hz – tone to open the vocal chords (release the lips)

hz = frequency of vibration or cycles per second

source: http://www.utqueantlaxis.com/

 

Chart 2.

Love perfect circle:

The Solfeggio Scale + 3 extra “lost” tones? “re”-discovered recently by scientists.

NOTE:  The “new” notes are said to be healing and may be ” lost” solfeggio notes.

new-174 Hz

new-285 Hz

UT – 396 Hz –old. Liberating Guilt and Fear
RE – 417 Hz –old. Undoing Situations and Facilitating Change
MI – 528 Hz –old. (LOVE) Transformation and Miracles (DNA Repair)
FA – 639 Hz –old. Connecting/Relationships
SOL – 741 Hz –old. Expression/Solutions
LA – 852 Hz –old. Awakening Intuition /Returning to Spiritual Order

SI? – 963 HZ – new

I have posted the whole scale + new tones as pure unfiltered sine waves
under “Solfeggio Scales 88khz 24/32bit sine waves”.
They can be looped in a media player on repeat for healing/meditation
or used to tune musical instruments or soft-synths by ear.

If you compare these pure waveforms with other normal waveforms in

audio editing programs you will see how special they are.

RE 417hz, Pure Sinewave, wave image

RE 417hz, Pure Sinewave, wave image

Synth Strings, Wave image

Synth Strings, Wave image

 

 

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