Origin of the Energy & Balancing Frequencies – Vibroacoustic Therapy (VAT)

I created four series of vibroacoustic frequencies for sound tables, and of those, Energy & Balancing has the longest history behind it. This is the story of its first track. The frequencies in that track came before the table, before the transducer, before anything you could plug in. The journey began on a Saturday in 1987, in Binghamton, New York, when I walked into a psychic fair by myself with no particular plan.

There was a man there about my age working with a set of tuning forks and two very large crystals. I don't remember what I expected to find that day, but it wasn't that. Something ignited inside me. I ended up having lunch with him and a couple of the psychics, and one of the women looked at me and mentioned the two large black cats walking with me, saying I was well protected. I have been aware of many large cats, my totems, ever since.

He lived an hour away and ran some introductory talks, then classes in Binghamton. I took them, and over the next few years tuning forks became a kind of dance. My hands knew where to go. There are not many things in my life I can say that about. He introduced me to inner travel and the Inner Sound.

The Tuning Fork Years

I worked with tuning forks for the next twelve years. Tuning forks are a manual way of applying frequencies to the body and the surrounding field. I started with forks tuned to A440 and used them on the chakras. That first set is still in my possession: worn from almost forty years of consistent use and still accurate to this day.

August 1987, I spent a weekend at a beautiful monastery in upstate New York. It was the weekend of the Harmonic Convergence. I wasn't there for sound work, but I was aware of what was happening, and I was very aware of the atmosphere of the place (quiet, focused, supportive in a way that stayed with me). My conscious interest in resonance was only a few months old at that point, and those two days showed me what a quiet, supportive space does for a person.

In 1991, I traveled to Santa Cruz to help him run a series of workshops, having spent the previous couple of years organizing his workshops in Florida. One of the people we worked on with the tuning forks was Randy Masters, who was teaching at UC Santa Cruz. Since then Randy became one of the better known designers of tuning forks in this field. I also met Chris's mother on that trip, and I ended up relocating to Santa Cruz for several years. During those years I was doing sessions as a tuning fork practitioner, but I wasn't teaching on my own. That came later, and it came with my wife Deborah.

1999: The First Table

I built my first sound table in 1999, a folding one, as an experiment: aura transducers, speakers, a sub, and music. I wasn't trying to build a delivery system for my frequencies. I was trying to find out what happened when you put sound into a body through the surface it was lying on.

What I discovered was that the sound table and the tuning forks merged together beautifully. I didn't have to choose between the two modalities. From that point forward I used the sound table to do tuning fork and energy work on people. The client would lie down, the music and vibration would take them into a state of relaxation within minutes, and I would work the tuning forks over them while they were already relaxed and open. It was incredibly synergistic. The table did the settling and the forks did the tuning. Neither one was waiting on the other.

That's the arrangement I worked with for the next nine years.

2000: The Energy Moves

Around 2000, something shifted, and A440 no longer felt right. I moved to a tuning frequency based on A426.6. That decision wasn't researched. It was felt. The energy had changed a bit, and the forks needed to change with it. Around the same time, Deborah and I were noticing something new in the people we worked on: a minor energy center between the heart and the throat, which we called the High Heart, was becoming more prominent. It was showing up more strongly, more often, in more people. That center is still part of the work today.

2000 is also when we started teaching. I don't think I would have taught at all without Deb. She had years of her own experience with tuning forks and her own profound intuition when she worked on someone, different from mine. We worked on people together, me on one side and her on the other. Between the new frequency of the tuning forks and the revealing of the High Heart Center, we had something unique of our own to offer our clients. Thirteen years of doing the work quietly, and now it was expanding. Word of the sound table was reaching more people.

2002: The Pyramid

In 2002, while we were living on Quapaw Avenue in Hot Springs, Arkansas, I built a copper pyramid: three feet high, half-inch copper, with an ametrine crystal holding three phantoms set in the capstone. The ametrine came from my friend Gary Fleck, a miner with a deep working knowledge of crystals.

That pyramid has moved with us ever since. It now hangs over the final assembly area in my workshop in western New York. The energetic intention travels with the pyramid and crystal wherever it is placed.

2007: The Santa Fe Conference

We were exhibitors at the International Sound Healing Conference that year, and I sat inside Alan Howarth's Sound Bubble and listened to the same piece of music played in two different tunings. The first was A440, and I could feel it in my energy field, centered in front of my left shoulder and extending out about twelve inches. Then I heard the RA tuning: the octave based on the resonant frequency of the King's Chamber in the Great Pyramid at Giza.

I felt it inside my heart and heart chakra. It felt like home. That was the whole experience, and it didn't take any interpretation. I understood immediately that this was a tuning that would bring people into heart-centered alignment, and that tuning the chakras to this octave brings us into alignment with the frequency shift underway on the planet.

When we got back to Hot Springs I laid out a full octave based on A = 423.97 Hz and found someone to manufacture a set for me (eleven pieces, C through C). Those became the Ascension Frequencies Tuning Forks, and they became the foundation of what I taught as Vibrational Technologies. People have followed their own guidance and traveled from across North America and as far as Australia, New Zealand and Mexico to be tuned with them and to learn how to apply them and incorporate them into their own healing practices.

The Exhibit Floor

The other interesting thing that transpired in Santa Fe took place at our booth. Deborah and I exhibited in 2006 and 2007, the conference's first two years: five days each, around six hundred people from all over the world, and we were one of sixteen exhibitors that first year. There was a variety of incredible energies within that space, and Deb, a highly sensitive empath, spent a lot of her time tracking the different energies and patterns from our booth. Fabien Maman's booth was within eyesight of ours. Fascinated with tracking the energies, she spent a good while watching him work his monochord sessions. The setup process was extensive and the application was rather labor intensive.

At some point she turned to me and said, "I can't imagine working that hard. All that standing and bending over the client and playing under the table. It would be so much easier if the frequencies were recorded and played through our sound table."

That was the whole remark, and it triggered me to create our frequencies. Twenty years of standing over people with forks in our hands, and it was Deb's clear and practical observation across a convention floor that made the obvious thing visible.

2008: Into the Table

In 2008, for the first time, I recorded the frequencies from our tuning forks into a track: the Vibrational Technologies Ascension Frequencies recording. I'd learned how to build a vibroacoustic frequency track a few years earlier with the Muscle & Structural series, so by then I knew how.

That's the hinge of this whole story. For twenty-one years the frequencies had lived in metal and in my hands, and now they lived in the medium itself. The table stopped being the method that opened someone up so I could work on them and became the vehicle that did the work.

What went into that recording was the sequence of energy centers I'd been working with all along: twelve of them, running from the Earth Star below the feet through the Soul Star above the crown, with the High Heart among them. That track was the first in what became the Energy & Balancing series, and four more followed over the years. It's still there, unchanged: the same RA octave, the same order.

If you want the distinction between a frequency track and a music track, and why both belong in a practice, I've written about that separately in What Plays Through the Container.

Inner Alignment

In 2014, Chris and I made Inner Alignment - Creating Coherence, blending my frequencies with his knowledge of music. Chris creates all the music we use for this work. His story traces back to my trip to Santa Cruz in 1991.

There's a full circle moment in that. Chris spent two summers when he was sixteen and seventeen studying at the Globe Institute in San Francisco. When he came home he told me about one of his teachers there: Randy Masters. He had no idea I'd stood over that same man in Santa Cruz with a set of tuning forks in my hands, four years before Chris was born.

We built the Inner Alignment track around a large ancient Tibetan singing bowl. I played the bowl on my own Liquid Sound Table, under the copper pyramid, and Chris recorded it. Then he took each section of the recording and encoded the specific frequencies I used in my Vibrational Technologies sessions, working the sequence from the Earth Star through the Soul Star.

The intention is coherence: clearing and resonantly aligning the major and minor centers so they can function at their best, and bringing the head and the heart, the logical and the emotional, into the same field. It's my go-to track. I use it to open a longer session of my own, as a standalone practice when time is short, and as a lead-in for meditation. I don't set an intention with it anymore, because it simply works on me. I play it most nights before bed on a twenty-minute timer. In the morning, I use the sound table and frequencies required to address what is relevant for me at the time.

I've used one of my tables since the year I built it, from the folding to the hydraulic lift massage table to the Liquid Sound Table. In the last few years it's become a daily thing. That's not a claim about the product. It's just the practice I've settled into.

What the Recording Replaced

What the recording replaced was one function, not the whole practice. When I worked on someone, the application of the tuning forks brought the energy centers into balance and got them communicating with each other, and that was the opening. What came after was intuitive energy work (applying the Light Codes and Sacred Geometries appropriate to that person), and no recording does that part. The frequencies set the body in balance and open the centers: the beginning of a session, not the end of one.

Which is why this series of frequencies belongs in an energy worker's hands. If you already have a modality, the table can carry the settling and the balancing while you do what you do. For nine years before the frequencies were ever recorded I used tuning forks in my hands instead of a track playing. That arrangement still works, however, that first half is now automated.

I stopped teaching and stopped doing hands-on work a few years before covid. The tuning forks are still here and still accurate. My focus over the years has shifted to building and meeting the demand for our products.

It's been almost forty years since that psychic fair in Binghamton, and what it was then has greatly evolved. The tuning frequencies have shifted twice, the centers I work with are not the ones I started with, and the forks have been quiet for years. What hasn't changed is the work itself: bringing the energy centers into balance and getting them communicating. What changed is whose hands the frequencies are in now.