Types of Singing Bowls

Taylor Cook
Nov 9
8 min read

Updated: Nov 10

For musicians, singing bowls are more than meditation tools; they’re living instruments that invite you to explore sound as vibration, texture, and resonance. Each bowl speaks its own language: metal bowls with complex overtones. Whether you’re layering tones in a recording, improvising in performance, or experimenting with harmonics and drones, understanding the different types of singing bowls opens up a rich sonic palette where rhythm gives way to resonance, and melody dissolves into pure tone.

Ultabati Singing Bowl

Size Range: 9” – 14” in diameter

Ultabati singing bowls are distinguished by their curved-in rim, where the wall bends inward just below the edge, giving the upper section a wave-like shape. They are rarer than other types and prized for both their visual beauty and vibrant acoustic energy.

Typically, Ultabati bowls feature visible hammer marks, a dark or blackened exterior contrasting with a bright, polished interior, and a smooth rim above a rougher body surface. Their fine, even walls—slightly wider and squatter than Jambati bowls—produce deep, low tones with exceptionally long sustain. The resonance is so strong it can often be felt physically at a distance.

Thadobati Singing Bowl

Size Range: 5.5” – 10” in diameter

Thadobati singing bowls are among the oldest and most traditional designs, recognized for their straight, vertical sides (“Thado” meaning “straight”) and flat bottoms. Their form varies slightly depending on weight—lighter bowls tend to have thinner walls and plain rims, while heavier ones feature thicker walls, broader lips, and sometimes decorative motifs such as beads or sun symbols. Some extra-heavy bowls may have slightly uneven surfaces, a testament to their hand-forged nature. Despite these variations, most Thadobati bowls share a balanced, symmetrical form with a bottom diameter often just smaller than the rim.

Sound-wise, Thadobati bowls are valued for their deep, steady tones and solid resonance, often greater in wall thickness than other bowl types like the Jambati. Their geometry—flat base and vertical sides—enhances tonal stability and sustain, making them reliable instruments for rhythmically grounded or meditative soundscapes. Historically, thin-walled Thadobati bowls originated in eastern India, while thicker versions came from Bhutan, reflecting regional craftsmanship and material differences that subtly shape their sound character.

Cobrebati Singing Bowl

Size Range: 5” – 8” in diameter

Cobrebati singing bowls are characterised by a lightweight form with a pronounced bulging side and thin rim, often described as “curved” in shape (with “cobre” referencing “curve”). Their walls are typically thinner, making them physically lighter for their size, and they often feature smooth surfaces (though hammer marks may appear) and a bowl-shape that traps sound waves effectively. Originating in Nepal and the Himalayan region, these bowls are often hand-hammered and may include inscribed mantras or interior textures.

On the sonic side, Cobrebati bowls produce a deep, resonant tone with good sustain and rich harmonic overtones. Their shape allows them to “trap” sound waves, yielding a strong presence and somewhat dramatic acoustic effect—making them suitable for immersive sound work, meditative environments, and performance contexts where a bold tonal bed is desired.

Naga Type Singing Bowl

Alternate Names: Pedestal Singing Bowl

Size Range: 3” – 9” in diameter

Naga singing bowls, also known as pedestal bowls, are distinctive for their two-part construction—a rounded bowl mounted on a circular metal base or stand. The bowl itself has a rounded bottom and cannot stand upright without its pedestal, giving it a unique and elegant form. Typically, the body is bulbous, with the widest point at the middle, tapering slightly toward the rim. Smaller and medium-weight versions have plain lips, while heavier ones often feature grooved rims. Their origins trace back to Odisha, India, where similar pedestal vessels, known as Gina, were traditionally used for food offerings before being adapted for ceremonial and musical purposes.

Acoustically, Naga bowls are extremely responsive and easy to play, designed primarily for rim playing rather than striking. Their self-amplifying shape produces a bright, resonant, and unexpectedly loud tone, reminiscent of Mani bowls. Because they can be comfortably held by the pedestal, they are especially popular among sound therapists and healers, allowing the practitioner to move the bowl freely around a client to direct vibrations and sound. They are also favored in Feng Shui and space-clearing practices for their clarity and dynamic projection.

Kopre Singing Bowl

Alternate Names: Koprebati Singing Bowl

Size Range: 5” – 9” in diameter

Kopre singing bowls are easily recognized by their distinctly rounded, almost spherical shape, resembling a half-egg or bubble. The term “Kopre” literally means “bowl” in Nepali, and these vessels embody that simplicity—deep, curved walls rising smoothly from a narrow, rounded base to a slightly inward-turned rim. They tend to be smaller to medium-sized, often with thin, even walls and a plain lip, though antique examples may show subtle hammer marks or patina from long use. Their compact, enclosed form naturally enhances resonance, creating a focused, contained tone field that projects clearly without excessive volume.

Sonically, Koprebati bowls are prized for their bright, clear, and bell-like tones with a fast response and shorter sustain compared to heavier forms like Jambati or Ultabati. The sound tends to sit in the higher or mid-frequency range, making them ideal for melodic interplay, accenting, or layering within a sound bath or musical arrangement. Because of their responsive character, they are often used for handheld play or striking techniques, producing tones that are both pure and penetrating. These bowls are common in Nepalese craftsmanship and remain favorites among musicians and healers seeking articulate, shimmering tones within an ensemble of deeper bowls.

Goalbati Singing Bowl

Size Range: ~

Goalbati bowls are a rarer variety of Himalayan singing bowl characterised by a refined, antique aesthetic and vibrant tonal quality. These bowls are typically hand-hammered, feature visible patina and surface texture, and are often described for sale as “Buddha”, “Bodhi” or “Genie” bowls—suggesting both ritual heritage and sonic distinctiveness.

Sonically, Goalbati bowls are valued for their clear rim-play response, high frequency energy, and complex harmonic soundscape. They are noted for “pulsing high-frequency energy… rim-play very easy and complex soundscapes.” Because they are often labelled as antique and sourced via specialist dealers, they hold appeal for sound therapists, collectors and practitioners seeking a combination of historic value, aesthetic richness and responsive sound.

Jambati Singing Bowl

Alternate Names: Jambhati Singing Bowl

Size Range: 8.5” – 14” in diameter

Jambati singing bowls are among the largest and heaviest of all Himalayan singing bowls, known for their graceful, high-curved walls and flat bottoms. They often feature decorative etching lines below the rim and circular markings inside the base, along with fine hammer marks from their hand-forged creation. The rim design varies—some turn slightly inward and may be plain or grooved, while others are simply the sheared top edge of the wall. High-quality Jambati bowls often display smaller, more refined hammer marks and occasionally incised inscriptions such as mantras or dedications. Their craftsmanship and aesthetic presence make them prized instruments for sound healing, chakra balancing, and meditation.

In terms of sound, Jambati bowls are valued for their deep, resonant tones and rich overtones. The rim thickness affects their tonal character: bowls with a thick rim produce a brighter, higher-pitched tone—traditionally linked with female energy—while those with uniform wall thickness create deeper, more complex sounds with multiple harmonic layers, often associated with male energy. Their weight, balance, and tonal depth make Jambati bowls a cornerstone for professional sound therapists and musicians, serving as both grounding and harmonically rich instruments in any ensemble.

Lingam Singing Bowl

Size Range: 5” – 12” in diameter

Lingam singing bowls are distinctive for the conical protrusion (“lingam”) in the center of the basin, symbolizing the male principle or the deity Shiva. This inner “nipple” is paired with a navel-like impression on the bowl’s underside. These bowls are typically beautifully forged, with even walls, smooth surfaces, and often a triangular, grooved, inward-facing rim. Their unique shape and spiritual symbolism make them rare and highly prized among collectors and practitioners. Many antique examples are valued both as ritual objects and as works of sacred art, sometimes commanding high prices due to their craftsmanship and symbolic resonance.

Acoustically, Lingam bowls are known for their sweet, sonorous tone—clear, sustained, and balanced, with few overtones but a harmonious blend between them. The central protrusion influences the vibration pattern, contributing to a pulsating, sustained sound that feels both grounding and luminous.

Mani Singing Bowl

Size Range: 5” – 7” in diameter

Mani singing bowls, also known as Mudra or Beggar’s Bowls, are a rare and ancient form of bowl recognized by their thick walls, flat bottoms, and a wide, rounded middle that narrows slightly toward the base and rim. Their inward-facing lip resembles the curve of a traditional begging bowl, connecting them symbolically to monastic simplicity and alms practice. Many examples display faint concentric circles inside the basin and subtle etched lines just below the rim, though these markings are often worn smooth with age. Heavier than most other bowl types.

Acoustically, Mani bowls are renowned for their self-amplifying shape, which produces a powerful, focused tone and a distinctive oscillating or “sine wave” effect when played around the rim. Their sound is typically high-pitched with minimal overtones, yet penetrating and resonant, capable of filling a room with clarity. Most are highly responsive and easy to play, though some may require careful technique to sustain their signature oscillation.

Manipuri Singing Bowl

Size Range: 3.5 to 10 inches

Manipuri singing bowls are the shallowest and oldest among the Himalayan bowl family, recognized by their low walls, rounded bottoms, and subtly flared rims. They are typically small in size (often under 6 inches in diameter) and can range from plain to richly decorated, with some antique examples featuring mala bead or sun-motif engravings and incised collar lines near the rim. The metal composition of many Manipuri bowls—often a brighter, more golden bronze alloy—gives them a distinct sheen and lightness. Historically, many served domestic or utilitarian purposes, and years of polishing have left their surfaces smooth and worn. The name “Manipuri” comes from the northeastern Indian state of Manipur, which was historically a center for brass craftsmanship.

Sonically, Manipuri bowls produce high-octave tones due to their thin walls and shallow form. While thinner examples may have a lighter, less resonant sound, thicker-walled or wide-rimmed versions can produce surprisingly rich and vibrant tones prized by collectors and musicians. Their compact shape and bright, singing pitch make them well-suited for melodic work, accent tones, and energetic clearing practices, offering a shimmering counterpoint to the deeper, more grounding sounds of larger bowls like the Jambati or Ultabati.

Remuna Singing Bowl

Size Range: ~

Remuna singing bowls share much of their character with Thadobati bowls, but are distinguished by their slightly inward-sloping walls and thinner construction, which give them a lighter feel and a more agile voice. They have a flat bottom and gracefully curving sides that bow outward below the midpoint before gently turning back toward the rim—a design that enhances resonance and responsiveness. This shape makes them exceptionally easy to play, producing a clear, steady tone with smooth sustain and minimal effort, ideal for both beginners and seasoned sound practitioners.

Their timbre is bright yet balanced, offering a harmonious blend of overtones similar to Thadobati bowls but with a slightly more open, fluid quality due to the thinner metal. The exact origin of the name Remuna is uncertain, though it likely references Remuna, a historic town near the Bay of Bengal, an area known for its metalwork traditions. Because of their sensitivity, clarity, and musical versatility, Remuna bowls are often favored by musicians and healers seeking bowls that sing easily and blend beautifully in ensemble settings.

Trapezoid Singing Bowl

Size Range: ~

Trapezoid singing bowls are instantly recognizable by their geometric precision and balanced symmetry. As the name suggests, their profile forms a perfect trapezoid—with straight, inward-sloping walls, a flat bottom, and a broad, level rim. This architectural shape gives them a strong visual presence and a stable foundation, both physically and acoustically. The wide, outward-facing rim is often adorned with etched or incised lines, while the outer walls typically feature multiple parallel grooves and the interior base displays concentric circles, adding to their refined craftsmanship and visual harmony.

Sonically, Trapezoid bowls tend to produce clear, balanced tones with a strong fundamental and steady sustain, reflecting the stability of their form. Their sound is clean and centered, making them excellent for rhythmic or meditative grounding within a sound bath or musical setting. Though less common than rounder bowl types, Trapezoid bowls are valued for their unique geometry, visual symmetry, and dependable tonal clarity, appealing to both collectors and musicians seeking a distinctive aesthetic and sonic presence.