the right ear. The brain subtracts the two low-frequency signals, so an instrument's placement during recording, mixing, and mastering isn't cosmetic. The brain changes how frequencies travel in the body and reach the listener's nervous system.
Key signature matters for the same reason: each key carries its own frequency range and pattern, shaping mood and physiological response, so it's one of the first real decisions in composing a piece. Tone charts published by Sharry Edwards link each musical tone to identical frequencies found in the physical body so a song can amplify certain emotions—and certain physical structures—in a kind of vibrational massage. How a song affects the body isn't random; it's just inaudible to a casual listener, and it's exactly what separates a composition engineered for healing from one that simply sounds pleasant.
Composing With Chemistry
Sharry Edwards has spent years using frequency to help the body balance and heal itself, building extensive banks of frequencies and uncovering many of the body's secrets by observing how it responds. Edwards and Mattson have partnered for more than twenty years, embedding complete frequency sets into healing music so that listeners benefit while simply enjoying it.
One of the techniques listeners ask about most is translating the body's chemistry into sound. Digestion, metabolism, the tuning of a specific organ or system — these are chemical processes that can be represented musically and mathematically. Mattson composes pieces with audible tones that recreate those chemical patterns, so the music isn't simply playing "a healing frequency" for the listener. It is recreating a process the body already knows.
DNA Dreams, for instance, was built entirely from the frequencies of DNA and RNA nucleotides, ATP, and DNA's phosphate backbone, with tonal patterns that mirror DNA's spiral geometry. Blissful Mind embeds fifty frequencies tied to neurotransmitters, hormones, amino acids, and bio-nutrients associated with focus, mood, and sleep.
Mattson is careful never to let one frequency dominate a piece — just as too little of a nutrient causes problems in the body, too much of a single frequency, heard on repeat, can create an imbalance. She builds in the full, balanced pattern and lets the body select what it actually needs.
Intent, Ancient Technique, and What She Learned Researching The Lost Waves of Time
Not everything Mattson does is technical — some of it is intentional in a much more direct sense. Sound isn’t healing by default; the same frequency, played with different intent, can as easily release negative energy as deepen it in a listener. For example, if a frequency resonates with anger and the person clings to their anger, it intensifies. Conversely, the frequency could help the listener notice their anger and choose to release it.
When Mattson records, she holds the intent to heal and embeds it directly into the track, using specialized methods that include channeling energies similar to — but, by her account, more potent than — Reiki onto otherwise silent recorded layers.
This isn't new; it's ancient. Mattson spent years researching the sound techniques of civilizations around the world for her award-winning book The Lost Waves of Time, and what she found again and again was sophistication modern listeners rarely give ancient musicians credit for: crafted sound sequences used to open energetic space, clear and lighten the chakras, alter destructive personality patterns, and even rehabilitate people who had committed crimes.
Rhythmic patterns were central to this work too — musicians understood, long before modern neuroscience confirmed that rhythm shifts brainwave states and that healthy rhythmic pacing in music can support the body's own heartbeat and breath. Rhythmic patterns, much like Morse code, relay information to the body.
Ancient spiritual practices used tone less as music with a melody, a beginning, and an end than as a kind of tonal GPS — a way to unlock levels of consciousness. In doing so, they copied nature's own patterns and proportions, such as Phi, to cancel certain waves and clear ordinary static, allowing chi, prana, or life force to flow to the listener. Author Richard Merrick, in his book Interference, shows that the ancient Greeks understood this well and deliberately used sound's wave-cancellation properties in their music to benefit the listener.
For example, when the crests of two waves coincide, they combine and double. When waves collide and overlap, their high and low points can cancel each other out.
By working with these additive and subtractive properties of sound waves, ancient musicians sculpted a subtle energy that resists definition but is unmistakably felt as uplifting.
Why She Does It This Way
None of this is meant to reduce sound healing to a formula. If anything, layering tuning method, harmonics, chemistry, rhythm, sound direction, and intent into a single composition is closer to alchemy than arithmetic — which is why a three-minute track can take months to finish. While composing, Mattson feels inspired, almost as if the songs are using her body to play themselves out; the best compositions simply flow through her.
Nature is an inspiration in both the literal and technical sense — as in ancient practice, nature sounds are used as instruments in their own right, and the natural patterns within their subcomponent sounds are replicated throughout the music.
Mattson believes listeners deserve engineered music to do what it claims, not music that borrows the language of healing without the underlying precision. That commitment is also why she makes a portion of her catalog available for free — including tracks designed to support the immune system and reduce inflammation — through Jill's Wings of Light, alongside an online master-class series on ancient sound healing methods for anyone who wants to go deeper into the techniques themselves. So delve into Jill Mattson’s unique healing music to reap its benefits.
In Sharry Edwards’ Words
“I met Jill and her music years ago at an international expo. Her energy was loving, light, and inviting, and her booth displayed her enormous talent. Then she opened her mouth, and I was flabbergasted by the breadth of her ancient healing sound knowledge. When I heard she also wrote and played music, I knew I needed to hear what she was sharing. Her music is varied, but it all carries connection—heart to heart, mind to mind, spirit to spirit. Its message is acceptance, curiosity, growth, expansion, and connection. It sets you free! It gives you the courage to expel fear and embrace different layers of reality, if you are ready.”
— Sharry Edwards, pioneer of BioAcoustics