The Philosophy: Sound as Meditation, Sound as Bodywork

I’m fascinated by the science of sound and the human nervous system, but first and foremost, my work with sound is rooted in a lifetime of making, recording, and working with it. For decades, I’ve developed this craft as a sound artist, as a composer, as a touring and recording musician, and as a listener & feeler. All of it, as well as the thousands of people I’ve connected with through this work, has informed my relationship with sound — not just as art, but as a moving, physical energy. This understanding has deepened over the years as I shifted my practice primarily toward working with sound as a healing modality.

On Listening 

If we start at the ear, the most important truth is simple: the act of intentional listening is a fundamental foundation of sound as a meditative tool. Choosing to be fully present with sound can itself be calming, grounding, and profoundly beneficial to the nervous system. As with traditional mindfulness, the “how” matters less than the fact that we’re giving our full attention to being present—and returning again and again when the mind drifts into thought or habitual patterns. These patterns are all natural expressions of being human. The invitation isn’t to eliminate them, but simply to notice—and return.

On Vibration

However, my approach is not purely (or even primarily) “ear-oriented.” I work deeply with the physicality of sound—how vibration is felt in the body, not just heard. In a live ONDO session, low frequencies can gently move through the belly, harmonics can resonate around the heart space, and sustained tones can set the whole body into resonance. These somatic experiences reach us in ways that audio recordings can’t fully reproduce, no matter how beautiful the mix. Recorded music is a powerful tool, but live vibration—within the intentional context of a sound bath—adds a layer of physical engagement that speaks directly to our body’s innate rhythm and resonance, even at the smallest scale.

On Recorded Sound

Recorded music remains vital in the context of meditative listening. Over the years, I’ve experimented with many recording techniques designed to support meditation, healing, and nervous system regulation: binaural beats, isochronic tones, and other brainwave-entrainment methods—techniques that employ specific rhythms or frequencies to encourage particular brain states. Some research shows promise in supporting focus, relaxation, or sleep; other studies show neutral or inconsistent results. I take this as a cue to experiment instinctually, stay curious, gather feedback, and avoid dogma.

On Intention

This brings us to the point of intention — the thread that ties all of this together. You could say it’s the invisible architecture behind the experience. Whether we’re sitting in stillness, receiving a sound bath, participating in ceremony, practicing breathwork, or simply moving through daily life, our internal orientation changes everything. Intention need not be lofty or complex—it can be as simple as “I’m here to rest” or “I’m here to listen fully.” That orientation sets the tone for how our nervous system receives sound (or other modalities) as medicine; how our mind engages—or softens; and how our body responds. Without intention, sound is simply stimulus. With intention, sound becomes a container—a living space where we can meet ourselves more deeply.

In summary: 

We return again and again to this: Sound as a tangible, intentional, embodied practice.
It’s not about chasing perfect frequencies or claiming guaranteed effects—it’s about creating a space where we are invited to feel sound and listen deeply, letting the body, mind, and spirit meet in resonance as soma: the whole, lived experience of being.