The Perfect Tune with Digital Tuning Forks | Full Episode

What is a digital tuning fork… and how could sound help the body come back into balance?

In this episode of the Solex Podcast, Jake sits down with AO Scan founder Loran Swensen to explore AO Tune, digital tuning forks, sound therapy, frequency wellness, and the fascinating idea that the body may already know what it needs.

The conversation starts with the long history of sound and the body, from ancient bowls, bells, chants, and mantras to early experiments with sound, vibration, hearing, and bone conduction. From there, Jake and Loran talk about how the traditional tuning fork evolved from a physical tool into something that could be digitized, simplified, and built into the AO Scan experience.

The episode also breaks down the difference between weighted and unweighted tuning forks, why a digital tuning fork can hold a steady frequency without fading, and how AO Tune transducers deliver sound and vibration in a more directed way.

They also get into sine waves, square waves, sawtooth waves, binaural frequencies, chakras, and simple ways someone might begin using AO Tune without feeling overwhelmed.

At the heart of the episode is one big idea: the body is always communicating. AO Tune is another way to cut through the noise, provide a frequency reference, and give the body a chance to respond.

If you’ve ever wondered what tuning forks have to do with wellness, why frequency matters, or how sound can become a practical tool instead of just a woo-woo idea, this episode is a great place to start.

Email us with questions, comments or suggestions at solexpodcast@solexllc.com.

Transcript

Jake: Okay, Loran, I want to tell a little story here, if that is okay. So, if we can just cue the music.

Sound has been part of the human experience for thousands of years. Ancient cultures have used bowls, bells, chants, mantras, and much more in spiritual wellness, meditative practices, and traditions.

As far back as the 1500s and 1600s, physicians and scientists experimented with and studied how sound influenced the body. A really fun example is Hieronymus Capivacci in 1589. He placed one end of a rod in a patient’s mouth and the other against the vibrating string of a zither.

And now, if you do not know what a zither is, I did not know either. I initially thought it was the instrument Catherine O’Hara’s character played in A Mighty Wind, but I think she played the autoharp. A zither is something similar, a small stringed instrument. Capivacci would place one end of the rod in the patient’s mouth and the other end against one of the strings. It was specifically used to help diagnose hearing disorders.

So let’s go to 1711. Royal musician and trumpeter John Shore, who played in front of people like King James II and George Frideric Handel, split his lip after a concert. He could no longer play the trumpet, so with music in his veins, I guess, he switched to playing the lute, which is a six-paired-string, teardrop-shaped instrument with a bent neck. If I am right, that is the music playing over us right now.

It was a challenge to tune it, though, so he invented a tool to help him. It became what we now know as the tuning fork.

The next level of fascination, I suppose, was when music and medicine began to intersect. Throughout the next couple of centuries, leading to today, tuning fork use and practice evolved further into hearing, bone conduction, neurology, and many wellness use cases.

So joining me today is the founder of AO Scan, a revolutionary frequency wellness tool that helps you understand what your body is trying to tell you. Loran Swensen, thank you so much for being here.

Loran: Thanks for having me here, Jake.

Jake: What first got you interested in sound therapy and tuning forks?

Loran: It is really interesting that you ask. A lot of things in the history of the world that were developed were actually accidents. They came about because someone was trying to do something else, and all of a sudden, something else popped up.

It was kind of the same thing with me and tuning forks. I had gone to a convention back east for continuing education for my naturopathic doctor certification, and I had a day to kill. I had already done the courses I needed to do, and there were a couple of elective courses that looked interesting. One of them was on the use of tuning forks in your practice. I thought, “Well, what the heck? I will go ahead and sit in on that.”

I was blown away. My mind was opened. The instructor over this course was showing how he uses tuning forks in every aspect of his practice. In fact, when he gets to his office in the morning, he pulls out a fork, pings it against the puck, and then walks around the room. His whole thing was clearing the energy in the room and getting the energy clean.

At first glance, that looks a little weird, maybe a little on the woo-woo side. But as he walked around the room while demonstrating this fork, you felt a calmness in the room. I stood back and thought, because when I got there it was standing room only, “That is pretty amazing that I can sense that change from him just walking around the room with that fork.”

So he had my attention. I started paying attention to these forks, and I thought, “This is really amazing.” Every different fork he used, he explained what it was used for, why he used it, and how it had completely revolutionized his practice. People got better faster. The results they were trying to get were met much faster.

So I left that class when it was over, went back to my room, sat down, and thought, “There has got to be a way we can do this with the AO Scan.” I literally spent the next two days, instead of going to different classes, working on how we could digitize each tuning fork to its pure tone, which is no small task.

If we sat down with tuning fork practitioners, they are going to tell you, “It has to be this fork. It has to be made out of stainless steel, or it has to be made out of crystal, or it has to be made out of aluminum.” They are very determined in their minds about how this has to happen.

I thought that was really interesting because each one of those things, whether it is steel, aluminum, or crystal, has an entirely different harmonic sound. What was interesting to me is that every tuning fork puts out one wave, and it is the sine wave. It is the very smooth wave, instead of a square wave, which is very abrupt. The sine wave is very smooth because there are only two things in a fork. When you strike those tines, the vibration goes back and forth.

What was also interesting is that it does not matter how hard you strike that tuning fork. It does not go any faster. It is whatever that fork was cut and tuned to. That is the frequency it will always produce. It might be a little louder, but it will not be any faster. That frequency is always the same.

So that is what got me thinking about how we could bring tuning forks into the AO Scan. I went to a course that had nothing to do with what I was there for, and we came home with AO Tune.

Jake: How do you decide what goes into AO Scan? Is it usually experiences like that? Do you let yourself be led into things?

Loran: That question has lots of branches, so we will try to take the main one.

Like I said, I did not go there with the idea of putting tuning forks in. I came away with that. It was an experience I had that created that light bulb moment and made me think, “This would be a good tool.”

In general, how we determine what can go into the scanner is that we look at what is out there in the industry and ask, “Can this be simplified, digitized, and duplicated?” If it can meet those three things, then that is pretty much what brings it in.

There is so much happening in the world right now with new technology, new therapies, and new techniques that I do not see AO Scan ever being fully done. I think there is always just going to be a bigger toolbox. Actually, it has to move more toward a semi truck. The toolbox seems way too limiting right now.

Jake: Well, it is starting to feel that way, is it not?

Loran: It is. And the thing that brought me back into why we would want tuning forks in the scanner is that I started looking at the tuning forks that were in the market. They ranged from really inexpensive to incredibly expensive. A set of 27 tuning forks could cost $2,500.

Then you think, “Okay, do I need all of those?” There are really only about three to five forks that are used all the time, but there are times when you would want to use all of them.

So we were thinking, “How many people can afford to bring 12 tuning forks or more with them every time they go to do something, and then learn how to use the tuning forks?” That is an art in and of itself.

But if we could put all the forks into the scanner and use the transducer to deliver that signal, could we make it as good as the actual tuning fork? That was the question, and that took us a few months to work out.

Jake: For anyone listening, we are holding a weighted tuning fork and an unweighted tuning fork. These are physical tools. You can hear them and you can feel them.

My first thought is that when you digitize something, you just hear it, right? So I am curious. What can digital do that physical cannot?

Loran: The real plus, or the real pro, for using AO Tune versus an actual physical fork is that you do not have to strike it, and that frequency will stay consistent and constant until you turn it off.

With a physical fork, once you strike it and start the vibration, it will last maybe 10 to 20 seconds before it has to be struck again. There is nothing bad about that. It is just that the frequency gets softer. The frequency will still be the same, but the intensity of it, the volume of it, will go down. With a digitized version, it is constant all the way through. That is the biggest thing.

When you show a weighted tuning fork, weighted tuning forks are primarily for sending the vibration down the stem to wherever you place the stem on the body. It directs that vibration right into the body.

An unweighted tuning fork, on the other hand, sends the vibration out into the air from the ends of the tines. So those are two totally different applications. Both are important, but they are totally different in how they are delivered.

Jake: I have seen someone use them for something like heart rate variability. They would strike their weighted tuning fork and place it there until, I think they described it as the heart and body sorting themselves out.

A really cool metaphor someone used was that tuning forks are not really an input. Imagine you have food in your teeth, your hair is messed up a little bit, or something is wrong with your clothes. You go to a mirror and then you can immediately fix those things. Tuning forks, she said, are like a mirror for your body.

You strike them, do your thing, and then the body is able to say, “Oh, okay. Let’s fix this.” The body is equipped to do that. It is almost like when you get cut. You do not have to think, “Okay, how am I going to close that wound?” The body just does it while you go about your day.

Can you talk to me about the two uses? I think this will segue nicely into AO Tune. When would you want to use a weighted tuning fork, and how would you use it? And when would you want to use an unweighted tuning fork, and how would you use that?

Loran: With a weighted tuning fork, again, we want to direct that frequency toward a target. Whether it is the body, bone, or whatever else, we want to direct that frequency down to the actual area we want to treat.

An unweighted tuning fork is more like what you just described, the mirror around the body. The body says, “Oh, that is what I am supposed to be vibrating at,” and it helps sync up, kind of like a metronome on a piano.

When you are tuning a piano key, you hold that tuning fork and hit the key until it is making the same vibration as the tuning fork. The beauty of the body is that it does not have to keep being hit. You just strike the fork, hold it where it needs to be around the body, and the body will say, “Okay, I recognize that feeling or that vibration, and I am going to start to emulate that.”

That is where the two are different. One is to direct it to a point. The unweighted one is to let the body find where it needs to get back in sync.

Jake: I might be getting ahead of myself a little bit, but I have also tried to understand this because my question, and maybe the question some of our viewers or listeners would have, is this: If my knee hurts or I have kidney issues, what is the frequency? What is the hertz? What is the right tool to use for a kidney or a knee?

While there may be certain hertz for specific issues, I have also read that sometimes you just have to strike one and the body is going to figure it out.

Loran: It is true. I would refer to that as the shotgun approach versus the sniper approach.

The beauty of AO Tune is that you can open it up in your SEFI, and it will give you all the tones and tell you the descriptions of what they are for. You have your chakras, your organs, your DNA, the planetary frequencies, and all of those. It takes away a lot of the guesswork.

But to direct it, you are going to want to find the appropriate frequency for what you are dealing with. So you would look at your menu or your book, and it would bring you down to the particular fork you want for that.

If you are not sure, or you do not have the time, take out the OM or the 128, strike it, and just let the body try to do it itself.

Jake: You have such a wide range. I remember you making a video when we first launched these. Now, that was in 2024, so that was over two years ago. I think I can emulate it perfectly. You said, “AO Tune is this fork, this weighted tuning fork, this unweighted tuning fork, and 37 others, all in here.”

Can you talk about what you mean by 37 others? Are there many different types of forks? You have talked about different hertz, different frequencies, and different tones. What do you mean by the wide range of frequencies in AO Tune?

Loran: There are approximately 30-something specific tuning forks. In other words, they have been tuned to very specific frequencies, and each frequency has its own specific uses and applications.

If you have all of those, you now have quite a few forks. I have seen tuning fork operators wear a belt with a whole bunch of tuning forks in it, and I think that is wonderful. But that is a whole other art in and of itself.

AO Tune is not a physical tuning fork. It is not a steel tuning fork. It is not an aluminum tuning fork. It is not a crystal tuning fork. It is a digital tuning fork.

In a very pure sense, you could say, “Well, then that is really not a tuning fork,” and that is true. However, the frequency coming out of the transducer is the same frequency as what is being produced by the tines on a tuning fork.

So what do we do with that? A speaker, for example, is not ideal because I cannot just hold the speaker in the air and direct that frequency. It is not a directed frequency. AO Tune uses a transducer. It takes that frequency and puts it through a very small speaker without the cone, so you can direct that sound to a very specific point. You can also hold it away and get a little bit of the unweighted tuning fork effect.

What we have done, which we think compensates for it not being a steel, crystal, or aluminum fork, is that we have put a little pad of SiBin right on the bottom of the transducer. It is about two millimeters thick. SiBin is a natural producer of negative ions, so it has its own health benefits just in and of itself.

But if I put the sound through that SiBin, it is now helping direct that sound in a way that a tuning fork could not do. So yes, it is not one of those three. It is its own fourth one: a transducer with SiBin.

People who have used tuning forks for years will tell you that this is 98% as effective as the actual tuning fork and so much easier to work with.

Jake: Okay, so say we are using an unweighted tuning fork and doing some biofield work. You strike it and activate it, and I have heard that people will move it around their biofield. If they find a spot where they start to hear something different, maybe the frequency goes up or down, they will hold it there until it works itself out, and then they can move to another spot.

Loran: The interesting thing about what you said is that it might change a little bit. The tuning fork did not change, but your body’s perception of it did, which means that part of the body says, “Okay, I am out of sync here.” The tuning fork did not make the change, but the body recognized that there was an out-of-sync area.

Jake: Because the sound from the tuning fork never changed.

Loran: Exactly.

Jake: Since AO Tune works a little differently, and it is not really vibrating other than emitting sound, will you still hear, feel, or perceive that change?

Loran: Absolutely. You can hear sound coming from the transducer from here, and you can hear it out here.

I have seen people stick it to the bottom of something like a shot glass or a glass with a wider opening. Then the glass amplifies it. They will hold that and move it around. If they want a more robust sound, they can hook it to that, and the cup becomes the cone of the transducer and amplifies that sound.

The other thing that I think is really important is that these are preset to be the same frequency as every tuning fork and in the sine wave. But what this can do that other forks cannot do is that you can go in and change it to a square wave or a triangle wave.

Most of the time, I would say 90% of the time, you are going to want to use the sine wave. But there are going to be times when a square wave or a sawtooth wave might do a better job finding a weakness, or finding a part of the body or an organ that is out of tune, and helping bring it back. We want to go back into the sine wave, but having the ability to adjust is really powerful.

Jake: So that is not a thing any tuning fork can do?

Loran: No. They are all sine waves. That is what you have there because they only have two tines. The sound goes between those two tines.

When you do a square wave, you are actually introducing a harmonic of that frequency, which gives it that more abrupt up and down. It is the same with the sawtooth. You are introducing harmonics from that frequency.

Like I say, 90% of the time you are going to be on sine, but to have that ability, to me, is valuable.

Jake: What made you think of incorporating those different wave types? Wave forms?

Loran: Waveforms. Sine wave is what all the organs in our body are at. But let’s say you have an organ, like a kidney, that is not functioning well. Maybe its frequency, if we could hear it, would sound more like a square wave or a sawtooth wave instead of a sine wave.

Like cancels like. So if you have an organ that is not responding, switch it over to square wave and see if that starts to cancel out that anomaly in the organ.

It just gives you a whole set of tools. If you had one screwdriver, one hammer, and one drill bit in your whole toolbox, you would be limited to what those three things can do. This gives you a whole set of tools.

Jake: Is that how your brain works then? You had to innovate off a centuries-old tool that provided a specific waveform. What happened in this creation process that made you say, “Hey, let’s throw sawtooth, triangle, and square in there”? That is fascinating that you thought to include this.

Loran: I do not really know. I guess I am kind of sick that way, just playing with different things and asking, “What can we do?”

Jake: You seem like a go-big-or-go-home kind of guy. Just look at AO Scan and all you have built with that. It is amazing.

Okay, we have a little segment where I fire off some rapid questions at you. Let’s start with one word to describe AO Tune.

Loran: Simple.

Jake: Sine, square, triangle, or sawtooth?

Loran: Sine.

Jake: I guess you kind of answered that before. Where should someone place the transducers?

Loran: If you have a heart arrhythmia, placing the right tuning fork on the sternum is going to have a more pronounced effect on the heart.

If you are having issues with brain fog or just cannot seem to complete your thought process, your third eye is a great place. It opens up the pineal gland. It opens up that whole area so your brain can focus and function better.

If you are having a hard time with spirituality or connection with source, the crown, right up here on the top of your head, is a good place.

If you are having abdominal issues, obviously right down on the abdominal area. If you are having joint issues, the bones are incredible because they not only take that frequency at the spot where it is introduced, but they resonate it through the whole bone.

You are probably going to get different answers from every single practitioner about where to place the transducers, but there will be a main theme, and basically what I just gave you was that theme.

Jake: It seems like the chakras can really guide a lot of that.

Loran: Chakras are powerful. That word scares a lot of people, and it is only because they do not really understand its origins.

If we were to take our chakras and meridians and give an analogy, your chakras are kind of like the circuit breakers in your home’s circuit panel, and your meridians are the wires going through your body.

If something has shorted out in one of your meridians, it is going to pop that circuit breaker. What do we do? We go and flip the circuit breaker back on. If it keeps popping, then we have to go find where the short is.

Chakra is just a word that says, “That is a junction point.” Science has already proven that we have these energy points. We do not have just seven. We have lots of them throughout our body, but we talk about the seven main ones.

Then your meridians are like your blood vessels or nerves. A meridian is nothing more than a frequency vein, so to speak.

Jake: How can someone use a tuning fork or AO Tune if they want to combine it with Eastern traditions? I am thinking about acupressure points. Have you had experience with that, or with practices where people use them together?

Loran: A lot of acupressure and acupuncture doctors will use tuning forks in conjunction with needles. I have done Shen Men on the wrist. To me, that is kind of like a master reset.

A good friend of mine who is an acupuncturist in Mexico will go through and use the tuning forks before he ever places a needle. The tuning forks help him say, “Okay, I need to make an adjustment here,” and that is where the needle goes.

They definitely complement each other in almost anything you do. We are frequency beings, Jake. Everything in our body is vibrating.

If everything in your body were operating at its peak, it would be akin to going to a concert and listening to a hundred different instruments play a complicated piece of music perfectly. But if just one string was out, or one horn was out, you would pick it up. You would think, “There is something wrong. Somebody is not in sync.”

That is all this is. It is getting our frequencies to be a fine-tuned orchestra and play the way they need to be playing.

Jake: With AO Tune, to a normal person’s eyes, they might just look like little speakers. So if someone thinks, “Why can’t I just throw AO Tune on a Bluetooth speaker?” what benefit are they losing by doing that?

Loran: What you lose is that a speaker has a cone and a little diaphragm. That takes the pure frequency and introduces harmonics to it. With just the transducer, you are getting as close as possible to a pure signal, like a straight tuning fork would be.

Can you use other transducers? Of course you can. You can use the bone conductors that are out there. Why we made this particular one is that we had the transducers inside tuned to be as noise-free as possible.

Any transducer out there is going to have some noise. That is just the nature of electronics and digitization. But we have made it as clean as we can to produce a simple tone.

This is not what you would want to listen to music on. There are too many tones in music. But for a single tone, this has been tuned to put out a single tone very, very well.

Jake: If everything was functioning optimally, it would be like a hundred different things happening in music and everything sounds perfect. Then you hear that one thing and you can tell something is off.

It almost seems to me like a theme with AO Scan is that your body, as a frequency being and an energy being, is always communicating something. I hear all the time that everything is energy, right? But it seems like it is always communicating something.

I will speak from my own experience. It is sometimes hard to understand, or maybe even know, that messages are being sent. But it seems like the underlying theme with AO Scan technology is this huge semi truck full of tools to help you listen and understand what your body is saying. Would you agree with that, and can you talk about that?

Loran: One hundred percent. The beautiful thing about AO Scan, AO Tune, and every other part of it is that it is able to cut through all of the noise, all the minutiae around us and inside us, and get to the points where we need to pay attention.

Whether we need to change our diet, our attitude, our relationship, or whatever else, it cuts through all that noise and tells us the truth. It is that simple. AO Scan cannot lie to you. It just tells you what it sees.

What you do with that information is 100% up to you. But that is what AO Scan was designed for: cut through the noise and get to the source.

Jake: Have you had any experiences with AO Tune, or have you heard people talk about their experiences with AO Tune?

I ask because last night, sitting in my basement, I thought, “Okay, I am really going to give AO Tune a shot.” I pulled my phone out and pulled out the little guide that I might have helped create, and I started reading through the instructions.

I am going to log into my AO Scan right now. We have this scan button. Can you talk about what is happening there? Looking at this for the first time, there are two things here: mineral group and mineral. Oh, and that changes too, it seems, from DNA.

Maybe we will start with what we see on the screen when we see broadcast, wave type, modulate, and FX. Do you mind going through those and teaching us what they mean?

Loran: When you hit scan, and I love the scan feature, kudos to our engineers who were able to make that happen.

Let’s say you open it up and you just feel off. Where do you begin? What do you start with? You hit scan, and because you are the target up at the top of the screen, and of course make sure you are the target, it is going to scan you quickly and say, “As far as the tuning forks are concerned, this would be a good one to start with.”

That does not mean it is the only thing you need. It is just a great place to start. So you open up that fork and hit play. See how it makes you feel. If it makes you feel better, then scan again, and it will go through and say, “Okay, here is one that is in sync with that one. Try this one.”

I love the scan feature because if you are not experienced with tuning forks, it makes it simple.

Jake: That can sometimes turn people away. They feel overwhelmed, or they feel like they cannot handle it because they do not know.

Loran: Right. Or they feel like they have no more space to learn anything new. Push one button. We can all push one button, and it does the thinking for us.

Jake: That is so cool. I am going to do it now. Scan. Let’s see what it pulls up for me.

Last night, what I did is hit scan. I really wish I had done a screen recording so I could remember what I did, but I remember the first one being planetary. I think they called it planetary frequencies. I was like, “Planetary frequencies? What is that?” But I did not question it because I do not know.

I just hit play. Before that, I had watched some YouTube videos to see what other people are doing with tuning forks. Some people would put them on either side of their belly button. I think that specific demonstration was for relaxation, and I do not remember what forks she had. Another person would put it, I believe they call it the mastoid, right behind the ears.

Loran: Right behind the ears, yes.

Jake: They would just hold it there, and that is where I felt something immediately. Maybe if I held it longer or did something more with my belly button I would have felt something there too. But it is a hard feeling to describe.

I have had a similar feeling with MindSync and a similar feeling with Inner Voice. I wonder if it has anything to do with the auditory features of that, maybe, maybe not.

But honestly, whether it was relaxation or whatever my body needed, I felt something. It was almost indescribable, but I felt safe. I felt peaceful, of course, but the safe feeling was kind of the winner there. What was happening?

Loran: This is the other part that I think makes them safe. You cannot hurt somebody with a tuning fork or with AO Tune.

You said you put it down on your stomach and did not really feel much, but when you put it up on your mastoid, all of a sudden it was like, “Okay, this has my attention.” That is the beauty of a tuning fork, and specifically AO Tune, because it does not lose its vibration.

If you start here with a physical fork, you have to strike it again, and then start again. With these, you can move until it just feels right, and then that is it. So what was there to learn? You were just listening to the body.

There is a movie out right now, and the very last word is that very word: listen. Are we listening? Do we listen to ourselves? Do we listen to what our bodies tell us? Because the body really is trying to speak to us, and the tuning fork helps bridge that gap.

Jake: Does volume affect the experience? You can control the volume. So if I play it right now, if you are listening, that is AO Tune doing its thing. I can also turn that down with my phone volume. Is that dampening the experience or enhancing the experience, depending on what volume I use?

Loran: No, but here is my recommendation. Take your volume as high as is comfortable to listen to. That would be like striking your tuning fork. At the very beginning, it is louder, and then it diminishes over time.

I think that is one of the key pluses to AO Tune. When you activate it, it is constant. So you can move it around without it diminishing and find where it is comfortable. If it is too loud, turn it down.

Remember, you are trying to direct a signal either into the environment around you or directly into your body.

One other thing we did not touch on, which I think we should, is that we have a section in AO Tune called binaural, which means you are using two at the same time. They are different frequencies, but they create a third inside the brain.

I like using those on the temples, or on the front and back of the heart, so on the sternum and on the back, to help regulate that.

You asked me earlier if I knew of anybody who had experiences with this. I have seen people who are having a panic attack or an arrhythmia take that 128 tuning fork, put it right here, and within seconds there is a calming. They are able to breathe again, and it settles down.

I think that is going to be the same whether it is a tuning fork or AO Tune. We are frequencies. We get it back in tune and we just soar.

Jake: So it is really just us trying to keep up with our body.

Wes Senter was here talking about brain health, and we did a sleep episode. He said all day, your brain is just trying to say, “Do not die, dummy. Do not let us die.”

What I am hearing is that our body really knows what it needs and knows what it needs to do. It is almost like we need to figure out what it is trying to say, and AO Tune is a way for us to do that.

Do we develop some sort of intuition for our body? What is it that we can develop to help us listen?

Loran: I think that is really good. We need to surrender. We need to surrender to ourselves and listen to ourselves instead of trying to second-guess everything. Surrender to it and allow the body to do what it needs to do.

We put ourselves into so much of the trouble we are in because we did not think, or we second-guessed, or we said, “No, I am not going to do that.” If we had listened to intuition, we would probably have been a lot better off.

So I think true meditation and true relaxation come when we have learned how to surrender our conscious mind and allow the subconscious to do its work. That is what I believe.

Jake: What is something one of our viewers or listeners could do if they have AO Tune, a tuning fork, or whatever tools they can access? What is something they could try to begin to surrender a little more, listen to their intuition, or provide their body and biofield some help? What is something easy and simple that they could do without overthinking it?

Loran: I think the simplest thing is when you are getting ready to go to bed at night, use the 128 hertz right here on your sternum and just let it go for a while. Notice that your dreams will be more vivid, you will sleep better, and you will wake more refreshed.

That is probably an easy way to get used to using AO Tune.

Jake: Real quick, if someone wanted to find the 128 hertz in AO Tune, how would they do that? Is it under binaural? Planetary?

Loran: It is under planetary. Just go down the list.

Jake: Flower of Life. There it is. So you hit that. Oh, and you can actually just play them one by one.

Loran: Yes.

Jake: I guess this mic is kind of in my way, but if you can hear that, I am putting AO Tune at 128 by the mic.

What Loran suggested is that tonight, or sometime when you are lying in bed, you use AO Tune. If we have two transducers, where should we put the other one?

Loran: You do not even need to use the other one. But if you want to, I would put it on the back.

Jake: Okay. Then we just let it sit there and relax. That could probably also begin to wind down our system and get us ready for sleep.

Great. That is awesome. Well, Loran, thank you so much.

Loran: Thank you, Jake.

Jake: This was so fun. Thank you for listening and watching, if you did that. We would love to hear what you think. We would love to make future episodes that can really benefit you and help you on your journey to listening to and understanding what your body has to tell you.