Composing with the Spirit World

The methods that can be described are covered under Applied Production and Effect Techniques. The method that matters most to me is described there in two sentences. It needs its own page, because without it none of my Sound Journeys would be what it is.

I do not compose alone

In my work as a healer, I have worked closely with my spiritual guidance for years. I do the same when composing. I call it my spiritual team, and for me that is not a formulation, but a working relationship.

By mediumistic means, I receive information about a song: the tempo, the pitch, which tones I should work with. Sometimes also which effective frequency belongs where.

How much comes through varies from piece to piece. Sometimes it is many parameters at once, sometimes a single cue, sometimes I continue on my own for a long time and something only comes later. I do not wait for it. I start with what is there.

The state in which a piece arises

While composing, I myself am in a particular inner state. In my spiritual understanding, it shapes the assumed morphic field of the song. I later experience this field as accessible; this is my personal interpretation and not a demonstrated property of the audio file.

Together with my spiritual helpers, in this state I charge the field of the piece with the information that it is meant to be about. While writing, I already direct the melody, every individual tone, the tempo and the frequencies towards the vibration and intention of the piece. What I mean by field is described in detail under The Field of a Sound Journey.

When composition and production are complete, I go into meditation once again. With the help of my spiritual helpers, I connect the entire music with particular symbols and numbers, with information from cards, crystals and further parts of my spiritual work. In my understanding, this enters the information field of the song.

The intention is fixed from the beginning. I write a song with a very particular intention and with a particular energy, and both flow into this field. With Avalon, it was about loving away fears and worries, with Typhon about lightness and letting go of old things, with Fotobeta about connection to higher levels of consciousness. The field is aligned with this from the very first minute.

Why this is not possible afterwards

A field cannot be attached to a finished piece afterwards. It builds up while composing. That is why Avalon says that it was written from the beginning with this aim and this awareness. If the intention had only come in at the end, it would have become a different piece.

How this relates to technique

The measurable methods remain unaffected by this. The binaural and isochronic frequencies, headphone spatial sound, the tuning of a piece: that is craftsmanship, anyone can verify it. The mediumistic work is added to it; it replaces nothing.

In my way of working, both interlock. The technique is intended to support relaxation and attentive listening; it guarantees neither a particular state nor an opening to the assumed field. What I interpret beyond that as contact with the field is not a production technique and not a measured process.

Where the premise begins

This is experiential knowledge from my work, not a measurement result. It has a different status from a series of measurements, and it should not pretend to have the same one. What I observe when composing, I can describe. I can explain it only in part.

Anyone who cannot make anything of this can still listen to the pieces as music. You do not have to believe in any spiritual explanation; whether a Sound Journey does you good or triggers something special is something you decide on the basis of your actual experience.