This album was created using tuning forks, performed live, and recorded with close-proximity microphones.

SOURCE
Each of us is an expression of Source. We dedicate this music to you, to joy, and to the mystery. Composed and performed by Alan Tower, Kim Riccelli, David Bergeaud, and Jason K. Norris.

INSTRUMENTATION
We had the tuning forks custom-made by MediVibe Technology, based on the mathematical ratios developed by Mark Deutsch. We also developed specialized tuning fork holders, or Sound Sculptors, and experimented with a variety of tools and techniques for creating the overall sonic experience. Sound Sculptors were engineered to organize arrays of tuning forks in chord clusters, which provide the bed of sound for the music. Individual forks create the melody and intersecting polyrhythms.

FORK ARRAYS: RESONANCE TUNING
Our resonance tuning formula for the fork arrays is rooted in the discoveries of Pythagoras and the concept of "just intonation." However, it provides a deeper entree into nature's matrix of vibration due to the following principle: All chosen tones for any chord cluster are as related proportionally to each other (e.g., 3/2, 4/3, 5/4, 9/8) as they are to the tonic. This harmonic formula, when precisely applied, creates a deep familial connection between tones that resonates with our central nervous system. Sound vibration is the hidden force generating all form in our world. It can produce restorative experiences altering our sense of self, time, and silence. Evidence suggests that the A432Hz reference pitch we use is linked to a deeper, more generative vibrational source.

PROJECT REFLECTIONS
We originally planned to develop our playing techniques with the Sound Sculptors, then compose and record the tracks all in a couple of sessions. However, to capture what is on this album, without overdubs, took significantly longer! Most instruments are played in a fixed position, but the Sculptors are designed to move through space. So, we had to develop techniques for shaping the recorded sound by playing with the specific "activation zones" of our stereo microphones. These funnel shaped zones are rarely used as an active part of the recording process. The volume of tuning forks is low, which required working very close to the mics while cranking up the gain to maximize mic sensitivity. This is a recipe for picking up extraneous sounds, so recording sessions happened from midnight to dawn. During these sessions, we had an inspiring time discovering and playing with these captivating new sounds.

AVAILABLE FOR PURCHASE
Sound Sculptors may be used with other tuning forks and work best with our fork arrays in C or D, 432Hz or 440Hz. More information on Sound Sculptors, our fork arrays, and other tools we've designed for musicians, sound practitioners, and anyone else interested in further exploring the power of vibration is available at www.TheResonanceCenter.com