echolocation.studio
My singing bowl collection has grown into a set of instruments that each carry their own voice, personality, and story. In this section, I’ll introduce the bowls I use, how they sound, how they behave, and what makes each one special. By sharing their qualities and quirks, I hope to offer a clearer sense of how diverse singing bowls can be and how each contributes something unique to my practice. There is information missing from this list, over time I plan to document during my experiments, and share it here; return soon for updates with more details and frequency recordings.
Freq. Soon
The most difficult bowl in my collection to play, anything more than the lightest touch and the bowl moves and it stops singing.
My first singing bowl, a generic brass, lathe-cut bowl.
My only hand-hammered kopre singing bowl. It's fairly new in my collection, so i'm still learning its nuances.
My only thadobati singing bowl. It's fairly new in my collection, so i'm still learning its nuances.
It's fairly new in my collection, so i'm still learning its nuances.
A generic machine-made brass singing bowl. Typically used in workshops for the public to try.
A generic lathe-cut brass singing bowl. One of the first in my collection.
My second handmade Coprebati bowl. It's fairly new in my collection, so i'm still learning its nuances.
78Hz
A subtle variation of shape and size compared to the 11" bowl. Less angled sides and wider base give its own unique tones.
188Hz, 516Hz, 980Hz
My favourite bowl in the collection. Easily able to be played in the 1st and 2nd overtones.
A generic machine-made brass singing bowl.
