Walk
Mostly silence. Every so often a chord, a drone or a bell arrives, stays a while and fades, something to come back to. The microphone stays off, so it plays fine through the phone's speaker, no headphones needed.
Put headphones on and sing or hum a sustained note. The instrument finds your exact pitch, builds on it while you hold it, and keeps ringing after you stop, so what you hear is made out of your own voice. Nothing else sounds.
A still bed for working. Nothing arrives, swells or drifts; it holds one place for as long as you set, so there is nothing in it to notice.
Put headphones on. You hear the world as it is, clearly, and every sound it makes, a tap on a tree, a footstep, a bird, sets off a little magic that rings and fades.
Each one holds an entrainment path, a soundscape and every level together - not a journey on its own, and not a soundscape on its own. The tester screens never show these; they are the bench.
Saving keeps a setup on this phone only. To make it what everyone gets, copy and send it, and it becomes the version in the file.
The demo plays made-up surroundings so you can try everything at home. Choose a scene below.
Find a sound (mute one thing at a time)
Each chip takes one element out of the mix and holds it out. Press one, listen for fifteen seconds, press it again to bring it back. When the noise you are chasing disappears, the chip you just pressed is the one making it.
Nothing muted.
Records what the engine is actually making - not the room, not the speaker - and saves it. A phone microphone cannot capture a quiet artefact; this can.
A stream running underneath, rather than drops. Drops are events, and an event invites a story; a stream is simply there.
Things drift down and land on water, and each landing is a koto note. Nothing is on a timer, so they clump and then leave long gaps, the way falling actually behaves. The pond quietens as the journey deepens — about one landing every fifteen seconds through the early part of the sit, thinning to one every forty-five by the end — so the sound and the entrainment are telling the same story. Three voices hold the tonic underneath.
Openly synthetic, inspired by 1970s synth music for plants: a breathing pad, soft drops of tone, warm plucks in place of bells, and now and then a short gliding phrase. All on the harmonic set.
The wind is noise shaped to the measured spectrum of a real wind-in-trees recording, so it has the body of one without the birds. The slider crossfades it against the brighter made gust. A file here replaces the wind with your own recording.
Optional. A recording of real rain plays alongside the made rain, and the pulse weaves into both.
Quiet synth sounds that come and go on the same notes as the bells. Turn any up to bring it in.
Sounds arrive in twos and threes and then leave long holes, instead of on a jittered timer, and the gaps stretch as the journey deepens — up to about two and a half times by the end. Off, the spacing slider alone decides, as before.
Or point at three recordings already on your site. Same origin means no permissions to arrange and nothing for a tester to load — they pick a practice and it plays. Paste the full address of each. These are kept in this browser only; to put them in front of testers they have to be built into the page, so send them to me once they are up.
Add one of your recordings to hear it over the sounds. It starts just after the opening bell.
A bell starts and ends the sit. The sound keeps going if the screen locks on most Android phones, but not on iPhone. Keeping the screen on is the safe choice.
White pulses in step with the pulse journey, sharp in alpha and softer in deep theta, dark between pulses, with a few longer moments of darkness. The pulse sound follows the same shape, so tone and light stay together. Red glows with each bell. Plug the phone into the lamp with a cable (not Bluetooth), switch off sound effects such as Dolby, and keep the screen on. Flickering light can trigger seizures in people with photosensitive epilepsy.
Tap the phone or speak. If this bar doesn't move, the microphone isn't reaching the page.
Bluetooth earphone microphones are skipped on purpose: switching to one puts the whole connection into phone-call mode, which drops what you hear to narrowband mono. Pick one here anyway if you want to hear that for yourself.
Listen to one thing at a time
Turn parts of the sound off to hear what the rest is doing. Nothing here changes the settings - it only disconnects, so putting it back leaves everything exactly as it was.
Microphone details
Tap Check while listening.
The phone's own microphone is chosen automatically. Wired headphones give the shortest delay. Bluetooth headphones add a delay of their own, and using a Bluetooth headset's microphone can drop the sound to phone-call quality.
Your surroundings come first. Use headphones and the live microphone; sitting still is fine.
On: your surroundings come through plainly, alongside what they set ringing. Off: only what the instrument makes of them.
Crown
Breathe in and out, and let whatever sound is there come.
Numbers, for testing
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A slow climb through beta across however long you set. Nothing arrives, swells or drifts.
The sounds around you set these ringing. Strings ring low and long; struck glass rings bright and shimmering, a little off true like real metal. Drifting moves slowly between the two.
Blur: each repeat is smeared through a chain of allpass filters, so it loses its sharp edge and sounds like a space rather than a copy.
Not measured yet. Either hold an earpiece against the phone’s microphone and press Measure, or press Tap along and tap the circle in time with the clicks.
Off: just the layers, the levels and the delay. On: everything in the lab, for trying things out.
Keeps the screen awake while you walk, so the sound, the microphone and the movement sensing keep going.
With a length set, the last minute and a half eases you back: the magic recedes, the pulse settles away and the world comes forward, then a single chime.
One slider for each thing you hear. 100 is the starting level; you can push most of them higher.
The sounds themselves ring as notes of a chord, like the Glo.
A binaural beat is made in your head from a different tone in each ear, so it needs headphones and a stereo link. A monaural beat is two close tones already added together, so the beating is really in the air: it survives a mono Bluetooth connection and works on a speaker.
One line per moment: time (minutes:seconds from the start of your recording), pulses per second, then a name. Add "gamma" and an amount (0 to 1) to bring in the shimmer. For the lamp, add "white" and "red" with a level (0 to 1) and "soft" for gentle sine pulses, for example "13:45 7 white 0 red 0.25 soft Visualising". Add "breathe" to make the pulse swing slowly down and back over five minutes (or "breathe 0.6" for a smaller swing), and "steady" to stop it. Add "hush" to draw the sounds back and leave the pulse almost alone. Levels glide between lines and carry on until a line changes them. The pulse glides smoothly between lines.
The pulse is tuned to the root of the chord, so it changes with the chords.
Drone voices from Plaits by Emilie Gillet (MIT licence).
The phone's own screen, which is the one light every phone has. Lie down, close your eyes and hold it a hand's width above them. Turn screen brightness to maximum first.
The journey decides. The Light test steps through all three on its own; other journeys hold one steady pulse.
On: hard on and off, white only, no brightness in between, and capped at twelve flashes a second. Nothing you design in this mode will be lost when it moves to the phone's own flashlight. Off: smooth brightness and colour, as the Enkidu can do.
A flickering light can trigger a seizure in people prone to them, most of all between about 15 and 25 flashes a second. Anyone with epilepsy or photosensitivity should not use it, and nobody should use it while driving.
Which notes the world sets ringing. Still holds one open fifth and never moves; Morning is major and changes chord as you go.
Tip the phone forward or back to brighten or darken the chimes, tilt it sideways to make them ring longer or shorter, and move more to make them richer.
At zero the repeats are exact copies that only get quieter, which is what a good delay does. Turn it up and each one is filtered, moved and sent to the room according to whichever character this sound drew.
On, the echo comes and goes over about a minute and steps back whenever the world is loud, so there are stretches of clean world. Off, it stays put - which is what you want to hear what it is doing, or to use it as a steady answer to the delay in your headphones.
A soft, filtered echo on the sounds around you. Quiet, distant sounds like birdsong echo the most; loud ones stay clean.
Press play first, then try the presets. These buttons act as if the world just got busy, or made a single sound.
Walking: your footsteps and the world echo in time with your stride, and the magic brightens. Stop and stand still: after a few seconds the world blooms and rings around you.
Shape the sound
On, everything tunes itself to whatever you sing, so nothing beats against your voice. Off, it stays at concert pitch — turn it off to play along with other instruments or a recording.
Hear what each layer is doing
Press a layer to take it out. Turn on "Only this" and pressing a layer leaves that one sounding by itself. It is easiest with the demo voice or a recording of yourself playing, because then you are listening rather than singing.
Everything is sounding.
Headphones only. Through a speaker this is a microphone listening to itself.
Found a sound you like? Copy your settings and paste them to Claude to make it a mood.
In the app, Walk would listen through the phone or headphone microphone live, with no recording needed. Some of the real world always stays in the mix, so people can still hear traffic.