How I Do It

How I Channel Meditation Music for You


Here are some notes about how I channel music for meditation. The main thing is that someone requests a communication from Spirit through me. 

I set up the recording studio and turn everything on and have as many options available to me as I can. Then I leave and come back and look at the request and then empty my mind. I open to Spirit, and my process is then to get out of the way and to allow Spirit to play the instruments (me being one of the instruments) and to use my talents and abilities to communicate through sound.

I do my best to find the sounds that most closely match what I’m being shown in Spirit and then hit “record”. I only do ONE “take”, the first one. I don’t go back and do it again to try and do it “better”. I only keep the first take of every track that I record. As a composer, it often doesn’t make any sense to me but I know that it is not about what I think. The intellectual parts of composing and arranging not only do not apply but they actually interfere. Normal composing thoughts like “Oh, it would be cool to modulate to Eb here,” or “These chords and sounds would help transition to the next section,” would only get in the way. That is ordinary thinking, and while it is bread and butter to composing and arranging, this process is far more a SURRENDER moment-to-moment. I have no idea what it’s going to sound like and have no involvement in manipulating it.

There is a point when I know that the recording is finished. There is no more energy on that frequency from Spirit. I walk out of the studio, not having consciously listened to any of it. Later, I come back into the studio to listen for the first time and to “mix” all the tracks together into stereo so that you can listen to it on your own stereo or iPod. Here again, I open to this unique frequency or vibration of your intent and do my best to deal with the technical aspects of the recording and make sure that all the sounds are in the proper relationship to each other so that this communication is as pure as intended.

Sometimes the music is soft and calm and sometimes I’m surprised by its intensity. I never know what is coming through and I don’t know what it means. I trust that the music and sounds have significance for the recipient. 

I know that when something comes through for you on one day that may be challenging, on another day the music could be totally different because you have shifted in some way.

If I feel that if I’m thinking about what I’m doing, it will interfere and I will walk out of the studio and not come back until I’m open and tuned in to Spirit. If I think that one channeling is more important for whatever reason than another, I will walk out of the studio. If I let my composer aspect try to decide what the piece needs, I walk out of the studio.

It’s a great opportunity for me to get out of my own way and stay connected to the frequency of Spirit.

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