Introducing the Zenthesia App: A Full Walkthrough of Every Feature

The Zenthesia app is a free companion app for the Zenthesia Sound Therapy Bed 2. It streams a curated catalog of lossless audio, casts it to the bed over Wi-Fi, lets you upload your own music, and includes a designer for building frequency programs of your own. It comes with every bed, and the bed does not require it.

If you would rather watch than read, the walkthrough below is ten minutes through the whole app, on the phone and on the web, ending at the bed. Everything in it is covered in more depth further down, and the chapter list in The walkthrough jumps to any part of it.

Why I built the app

There are more streaming platforms than any of us need, and every one of them works with the Sound Therapy Bed 2. Plug in, press play, lie down. I use them myself, and the app I am about to walk you through is not required for any of it.

So it was never going to be another place to stream music. It had to be something those platforms cannot be.

I built it because a vibroacoustic bed deserves a library made for it: a curated collection of high-fidelity, lossless audio, where every track was chosen or commissioned to be felt as well as heard, and where every track tells you what it is. That gives clinicians, practitioners and home users an easy entrance point for playing music through the bed. Open the app, pick a track from a shelf based on your intention, press play. No wading through a hundred million songs wondering which three were made for a 40 Hz carrier. No guessing what a track is for, who composed it, what research it leans on, or whether it will leave you relaxed or energized.

Every track carries a plain description, a set of tags and a place on a shelf named for an intention: rest, stillness, focus, energy, recovery, and more. If you run a clinic or a practice, that is the difference between "put on something relaxing" and knowing, in ten seconds, which track to reach for and why.

And it does three things none of the other vibroacoustic apps I tested do:

• It streams every catalog track lossless and casts it to the bed losslessly over Wi-Fi.
• It lets you upload your own music, so purchased albums, a practitioner's protocol library and your own compositions live in the same place as the catalog, and can sit on the same shelves.
• It lets you design frequency programs from scratch and render them as lossless tracks of your own.

In summary: this is a companion for the bed. It is not a general music app, it is not a subscription, and you cannot buy it. It comes with the bed, it is free for life, and it exists because I finally had the chance to make the tracks I always wanted for this instrument, with artists who could feel what they were composing for. The rest of this article is a tour of what that turned into.

The walkthrough

The app runs on iPhone and iPad, on Android phones and tablets, on the web at app.zenthesia.com (which works in a phone's browser too), and soon as a dedicated Mac app that casts to the bed and supports offline playback from your computer. The iPad and tablet layouts are wider versions of the same screens, with bigger shelves and the player's artwork beside its controls when you turn the device sideways. The phone app is what most owners use day to day, so that is what the video and this tour follow.

The video, by chapter:

• 0:00 Introduction: what the app is and why it exists
• 0:56 Discover and the shelves
• 1:21 A track's info sheet
• 1:45 The player, sleep timer and queue
• 2:23 Casting to the bed
• 3:23 Browse: search, filters and sort
• 4:20 Artists, albums and collections
• 5:13 Library: favorites and playlists
• 5:45 Uploading your own music
• 6:30 Downloads and offline
• 6:48 Create: building a program
• 7:52 More: profile, upload and storage
• 8:55 Help and About
• 9:17 Wrap-up

The phone app has five tabs along the bottom. Every screen has a cast button top right and a mini player floating above the tabs, so wherever you are, you are one tap from the bed and one tap from pause.

More holds your profile, Upload, Storage, Help & support, and About.

The rest of this article goes through what each of those actually does.

Lossless from the source

Every track in the Zenthesia catalog is lossless. Not "high quality", not "HD", lossless: the file you stream is bit for bit the master the artist delivered, stored as FLAC and always CD quality, 16 bit at 44.1 kHz or better. Programs rendered in the Create tool come out as FLAC at 48 kHz. Nothing in the catalog is an MP3, and nothing gets re-encoded on its way to you.

Here is why that matters on a bed and not just in headphones.

What you feel can only be as good as what goes in. A vibroacoustic bed is ultimately an audio system. It turns the audio signal into motion via tactile transducers, and your body is the last stage of the signal chain. Lossy codecs like MP3 and AAC save space by spending fewer bits on the parts of a signal a psychoacoustic model predicts your ears will not miss. That model was built for ears, not for the pressure receptors in your skin, and two parts of it matter on a bed. The first is masking: a quieter low component sitting next to a louder 40 Hz carrier is the first thing the encoder starves, and the model has no idea whether your skin would have noticed. The second is the hearing threshold curve, which climbs steeply below about 30 Hz. A quiet 20 Hz carrier would sit below what the model treats as audible, so a bit starved encoder may quantize it coarsely or drop it entirely. At 128 kbps, which is what several of the apps in the comparison below actually stream, you will find transient smearing and the warbling on sustained bowls and gongs. In my experience, when using these lower bitrate files you feel it as a vaguer, mushier bed.

At higher bitrate MP3 files, such as those encoded at 320 kbps, you may not be able to perceive a difference in quality. That said, the only cost of going full lossless is storage. So the lossless rule is for the bed, and for you it means you never have to wonder if what is promised in an artist's master is actually getting delivered.

This is not just my rule. The professional sound therapists I work with use lossless files exclusively, and in my own vibroacoustic therapy certification through VibroacousticTherapy.com we were taught to always work from lossless sources and to keep lossy links like Bluetooth out of the chain between the source and the transducers. None of that is a study, and I am not presenting it as one. It is the working norm among the people who do this for a living, and the app delivers it by default.

So the rule for the catalog is simple: lossless, from the source, or it does not go in. I ask every artist for their master, not their streaming export. In the player you can see this for yourself: open any track and the details row reads "FLAC lossless" with the sample rate and the file size. Upload a 320 kbps MP3 of your own and the same row will say "MP3 320 kbps", because the app will never pretend a source is better than it is.

The caveat: lossless costs data. The catalog averages about 330 MB an hour, nearly six times what a 128 kbps stream uses. That is exactly why the app has offline saving and a one-switch "keep the whole library on this phone" option, which I will get to. On Wi-Fi at home, or with the library saved, you never think about it again.

Casting to the bed, losslessly

The Sound Therapy Bed 2 sits on your Wi-Fi via the included WiiM Mini high-resolution audio streamer, and the app can interface with it directly. Tap the cast icon in the top corner of any screen, the app scans your network, your bed appears by name, and from then on the phone is a remote and the WiiM connected to your bed is the player. The track then streams straight to the WiiM as FLAC, which is delivered straight to the bed. Nothing is transcoded, nothing goes through Bluetooth, and the phone's own speaker stays silent.

This is the second half of the lossless promise, and it is the half most apps skip. Streaming lossless is the easy half. Getting it to the transducers without a lossy hop in the middle is the hard half. Bluetooth is a lossy hop. AirPlay to a third-party box is usually a lossy hop. A Wi-Fi cast to the bed's own streamer is not.

Put the two halves together and, as of this writing, this is the only vibroacoustic companion app in its category that delivers lossless audio end to end: a lossless catalog, and a lossless path to the transducers.

A few things I made sure of, because they are the difference between a feature and something you actually use every night:

• The lock screen controls the bed. Lock the phone, put it face down on the floor, and play, pause and skip still work from the lock screen and your headphones' buttons.
• The sleep timer controls the bed. Set 30 minutes, and the bed pauses on the dot.
• The next track is lined up on the bed ahead of time, so an album or a playlist moves on by itself with no gap and no phone involvement.
• Live handoff. If you are already listening on the phone and tap the bed, the phone keeps playing until the bed has caught up to the same point, then hands over. No restart, no silence.
• Out of reach. If you walk out of Wi-Fi range with a track playing, the bed keeps playing and the app says so: "Out of reach. Still playing on Zenthesia Sound Therapy Bed". When your phone finds the network again, the app reconnects on its own and picks up the controls. So you do not have to worry about interrupting a live session if you step outside with your phone in your pocket.
• It remembers your bed. Next time, the picker shows it first with "last used · tap to reconnect". Forget it any time.

Casting is in the iPhone, iPad and Android apps. A browser cannot reach devices on your home network, so the web app plays through whatever your computer is connected to. The Mac app will close that gap.

One thing the app does not do: it does not control the bed's intensity or amplifier. The bed's own knobs do that, and I think they should. Start at gentle levels and let your body lead.

Finding the right track

This is the part no streaming platform can do.

Discover: shelves named for outcomes

The home screen is a short stack of shelves, and every shelf has a job. Featured is the handful of tracks I am most excited about this month. Jump back in is your own recent plays, catalog, uploads and renders alike, so a session you started last night is one tap away. Then thirteen shelves, each named for what you want from the next half hour: Stillness & meditation, Sleep & deep rest, Recovery & tension release, Focus & clarity, Creativity & flow, Energizing & activating, Brainwave entrainment, Solfeggio, Chakras, Guided meditation, Guided breathwork, Frequency programs and Immersive music. Each has a one-line description under its name ("For after hard effort, or when you are holding it in your shoulders") so you know what you are reaching for. Albums come last, newest first, for when you want to listen through a release the way the artist sequenced it.

The shelves are curated by hand, by me, not by an algorithm. When I add a new track I decide where it lives and why, and the shelf you open a track from becomes its play queue, so playing the first track on the recovery shelf plays you through the recovery shelf.

Browse: search, filters and sort

Browse is the full catalog in four tabs: Tracks, Artists, Albums and Collections. Search matches titles, descriptions, artists and tags, so typing "40" finds every 40 Hz program and typing "breath" finds the breathwork. Filters narrow by length (under 10 minutes, 10 to 30, over 30), by type, by whether you have played a track yet, and by tag, with a live count on the button so you know what you will get before you tap. Sort by newest, oldest, shortest, longest or alphabetically.

The Played and Not yet played filters are a great way to quickly find what you have already listened to and what you have not tried out yet. A track counts as played once you have listened to two minutes of it in total, or once a play reaches the end, so skipping through the first thirty seconds of something does not tick it off. If you want to try every track in the catalog, the Not yet played filter will certainly come in handy.

The four types are worth knowing, because they tell you what a track is before you press play:

• Frequency Program: pure tones, sweeps, pulses and binaural beats, built for the bed. PureVAT, PureBeats, Confluence, the Solfeggio series, the brainwave series. No melody, all intention. These consist of tracks built entirely within the app's own creator tool.
• Frequency Composition: music written around a frequency. These include solfeggio frequency tracks, binaural soundscapes, and the chakra series.
• Immersive Music: full compositions by artists, made to be felt. HYPERLIGHT's Orion's Dawn, Robot Koch's live and studio work, and more.
• Guided Session: breathwork, meditation and visualization with a voice.

Every track tells you what it is

Open any track and you get a description written for a person lying on a bed, not a marketing blurb: what the track does, how it is built, and where it came from. Frequency tracks end with an "In the research:" or "Based on the work of" line that names the study or the pioneer the track is modeled on, Olav Skille for the 40 Hz work, for instance. That line is deliberately about where a track comes from, not a promise about what it will do to you. The tags sit under the description, and every artist name is a link to their page with a bio, their other tracks, and their own site and socials.

If you run a practice, this is the layer that turns the catalog into a tool. You can hand a client the app and a shelf name and know what they will find.

The player

The player is the screen you will spend the most time looking at, usually for about four seconds before you put the phone down, so I wanted everything you might need within one tap and nothing you do not.

The mini player floats above the tab bar on every screen: artwork, title, elapsed time, a heart, play and pause, and skip. Tap it and the full player opens with the artwork large, the seek bar, previous and next, and two rows of controls.

• Sleep. A moon icon. Pick 15, 30, 45 or 60 minutes, or type a custom time up to 12 hours. When the app is playing the audio itself, to headphones, a cable, Bluetooth or AirPlay, the sound fades out rather than cutting off. When you are casting, the bed pauses exactly on time.
• Autoplay. The end-of-track button cycles through three modes: Autoplay, which carries on through the shelf, album or playlist you started from; Stop at end, for a single track session; and Repeat, for a program you want running until the timer says otherwise.
• Favorite, Download, Playlist, Queue. Heart it, save it to the phone, add it to a playlist, or open the queue.
• Track details. A collapsed row at the bottom that previews the format while closed ("FLAC lossless") and opens to show sample rate, size, release and source.

The queue sheet shows what is playing now and what is next. Reorder by drag, swipe to remove, or clear it. Play next and Add to queue are on every track's info sheet, so you can line up a session without leaving what you are listening to. When the queue runs out, playback carries on from the album or playlist you started from rather than stopping dead.

The phone keeps playing with the screen locked, with play, pause and skip on the lock screen and from a wired headset's button. On Android the same controls live in a media notification. If you are casting, all of those controls drive the bed.

Playlists and favorites

Heart any track and it lands in Library › Favorites. That is the fastest way to build your own shortlist: the tracks you keep coming back to.

Playlists are for sequences. A playlist has a name, an optional description and cover, and an order you control with the arrows. "Play all" runs it top to bottom, and because autoplay follows the list, you can map out a full journey and never have to pick up your phone while it plays out. Add a track from its info sheet (+ Playlist) or from the full player. Deleting a playlist never deletes its tracks. A playlist without a cover borrows its first track's artwork, so it never shows up as a gray square.

Two ways I use them:

• Protocol playlists. If you run sessions for other people, a playlist is a protocol: "Recovery, 45 minutes" is a 30 Hz wave, a Confluence Delta program and a guided breathwork, in that order, with the sleep timer set to match. Hand it to a client and they cannot get it wrong.
• Mixed playlists. Uploads and catalog tracks sit side by side in the same playlist. Your own purchased music, a rendered program from the Create tool and a catalog track all play in sequence at whatever quality each one has.

Offline: save a track, or keep the whole library

Lossless files are big, and beds can live in places with bad Wi-Fi: basements, studios, treatment rooms at the back of a building. So the phone app can hold the music itself.

Save a track

Every track's info sheet and the full player have a download arrow. Tap it and the lossless file is saved to the phone. Library › Downloads lists everything you have saved, with a ✕ to remove one or "Remove all". Open a playlist and "Download all N tracks for offline" saves them one after another, and a second tap stops after the current track.

When the phone has no connection, the app does not pretend otherwise. A strip at the top says "Offline: tracks saved on this phone still play", an "On this phone" shelf moves to the top of Discover, and tracks that are not saved fade out so you are not tapping on things that cannot play. Everything you saved plays on the phone exactly as it would online. Casting is the exception: the bed streams from the cloud, so it still needs the internet even when the phone does not. This means that when you are offline you will need to use an aux cord or Bluetooth connection to connect to the bed.

What else works offline

Every catalog cover is kept on the phone, so the shelves still look like shelves when there is no signal, not a wall of gray squares. Hearts and playlists work offline too: favorite a track, build a playlist, reorder it, remove from it, and the changes sync the next time the phone finds a connection. The one playlist action that waits for a connection is adding a cover photo. The screens that need the cloud, which are Create, Upload, Help, Profile and Storage, say so in one sentence instead of showing you an error.

Keep the whole library on this phone

If you would rather never think about it, there is one switch under More › Storage: "Keep the whole library on this phone". Turn it on and the app saves the entire catalog, every track, and keeps it current as new tracks arrive. As of this writing that is 93 tracks and about 10.5 GB with my own uploads and renders counted in. Your own uploads and rendered programs are included unless you turn off "Include my uploads and renders".

It saves three files at a time and it is careful about data. It waits for Wi-Fi unless you tap "Download now", which tells you first how much mobile data it will use. It will not start if it would leave the phone with less than 2 GB free. It only downloads while the app is open, and the status line keeps you informed: "Waiting for Wi-Fi · 12 tracks to go", then "All 93 tracks are on this phone."

Phone downloads do not count toward your cloud storage allowance, and they are the one thing that lives only in the iPhone, iPad and Android apps: the web app streams, it does not save.

One place for all your music: uploads

This is the feature I am most excited to see people use, and none of the four other apps I tested offers it: you can upload your own music.

The catalog is what I love and want to share. It is not everything you love. You have albums you bought on Bandcamp, a sound healer's protocol set you paid for years ago, a binaural session a friend made you, maybe your own compositions. Until now those lived in a folder somewhere, played off a laptop through a cable, and never sat next to the catalog on the same shelf. Now they do.

More › Upload on the phone, or the Upload panel on the web. Choose a file. That is the whole flow. Title, artist, album and cover art are read from the file's own tags, and you can edit any of them afterwards, along with the description, tags and type, exactly as a catalog track has them. Your upload then appears in Library › Uploads, in search, in Jump back in, in playlists alongside catalog tracks, in the queue, on the lock screen, and cast to the bed. It can be saved offline. It is private to your account; nobody else sees it.

Same quality in, same quality out

Uploads accept FLAC, WAV, MP3, M4A and AAC, up to 1 GB a file. What you upload is what you get back. A lossless file streams back lossless and the player says "FLAC lossless". A 320 kbps MP3 that needs no level change streams back exactly as you gave it, and the player says "MP3 320 kbps". Nothing is upsampled to make it look better than it is.

Two things do happen on the way in:

• WAV and Apple Lossless become FLAC. Same audio, bit for bit, in a file about half the size. If you ever export your data, you get the FLAC.
• A level-safety pass. Every upload is measured against a -14 LUFS target, the loudness level most streaming services normalize to. A master mixed too hot is turned down, by gain alone, so it cannot overdrive the bed's amplifier. A quiet one is turned up, but only as far as its peaks allow and never by more than 12 dB. No compression, no limiting, no EQ, ever. Lossless files take this for free. An MP3 or AAC that needs a real level change has to be re-encoded, and comes back as AAC at 256 kbps, which the player will tell you.

For clinics and practitioners

If you run sessions for other people, your licensed library, your own recordings and the Zenthesia catalog now live on one set of shelves, with one search box, cast from one phone. Descriptions and tags are yours to write, so "Tuesday evening group, 20 min" can be a tag.

Every account comes with 20 GB for uploads and rendered programs, which is roughly 60 hours of lossless audio, or about 140 hours of 320 kbps MP3. There are sensible daily caps (100 uploads or 10 GB a day, renders up to an hour each and ten hours of rendering a day) to keep the pipeline healthy. Going over the allowance never deletes anything; More › Storage shows exactly what is using space, with a list of your largest items, and a Contact link if you need more.

Create: design your own frequency programs

Everything above is about listening. Create is about making, and it is the part of the app I built for myself first.

A vibroacoustic bed is, at heart, an instrument that plays frequencies into a body. For years the only way to get a specific program onto it was to open a DAW, build tones by hand, export, transfer, and hope the levels were right. The Create tab is that whole workflow collapsed into one screen: compose a program from tones, sweeps, pulses and noise on a timeline, hear it as you build, then render it in the cloud as a lossless track that lands in your library like any other. From there it casts, it plays offline, it goes in playlists.

Build a 40 Hz program in five minutes

The shortest path:

1. Create › New program. The picker asks for a starting point. Everything stays fully editable, so pick the one closest to what you want:
   • Blank: an empty canvas with one 40 Hz carrier layer.
   • PureVAT: 14 pure-tone programs, the 30, 40, 44, 52, 60, 68, 80, 86 and 115 Hz Waves, a 40 Hz Scan, a 40 Hz Pulse, and three sweeps.
   • PureBeats: 6 binaural programs, Delta 2 Hz through Gamma 30 Hz.
   • Confluence: 6 multimodal programs that pair a bed carrier with a headphone binaural pair, Delta to Gamma.
   • Singles: PARALLAX (dual current 49 Hz) and MERIDIAN (a 30 to 60 Hz sound massage).
2. Pick PureVAT › 40 Hz Wave. You now have one layer with three segments: a 40 Hz tone swelling at six, then seven and a half, then six and a half seconds a cycle.
3. Tap the first segment, set its length to 20 minutes and delete the other two. Set the pulse Rate to 10 seconds, one swell every ten seconds, and the Shape to Breath. Give it a 30 second fade in and fade out.
4. Tap Preview. On the web the program plays live and follows every edit as you make it; on the phone it plays the next 24 seconds from wherever the playhead is.
5. Tap Render. A minute or so later a 48 kHz FLAC called "40 Hz Wave" (or whatever you named it) appears in Library › Uploads with your name on it. Cast it to the bed.

That is a usable program. Everything below is what you can do once you want more.

Layers and segments

A program is a stack of layers on a timeline, and each layer is a row of segments. Layers have a name, mute and solo, a volume, and a channel: both, or channel 1 or 2 only. On headphones that is left or right. On the bed the two channels are zones, not left and right: channel 1 drives the center pair of transducers and channel 2 the pair at head and feet, and splitting layers across them is how the dual current programs work. Add harmony layer copies a layer retuned by a musical interval. Add audio as a layer drops one of your own uploads onto the timeline under the tones, already leveled by the upload pass so it cannot run hot. The phone renders audio layers but cannot preview them yet; that is web only for now.

Each segment is one sound for a stretch of time, and the Inspector gives you:

• Source: a tone, or noise in white, pink, brown or green.
• Frequency: steady, a sweep from one frequency to another, or a scan that goes there and back, on a linear or exponential curve. A note picker lets you work in semitones instead of hertz, tuned to your choice of A4. The house default is 432 Hz.
• Tone color: Pure, Warm, Bright, Hollow, Organ, Bowl, Bell or Chime. Bell and Chime add struck overtones that fade before the fundamental does.
• Binaural beat: a difference in hertz between the ears, for headphone listening.
• Amplitude, Space, fades: level, how much of the segment reaches the hall reverb, and fade in and out.
• Pulse: a rate, in hertz or seconds per cycle, and a shape. Wave, Triangle, Ramp up, Ramp down, Breath, Heartbeat, Drift, Ocean, Swell, Gate and Strike. Strike has a ring length, Gate a duty cycle, and both have an edge softness so nothing clicks.
• Loop: repeat the segment until a chosen time.
• Duplicate: add a copy right after this one (⌘D on the web), which is how an hour long program gets built in a few taps. Renders top out at an hour each; for longer, set the player to Repeat or put two renders in a playlist.

Program-level controls

One hall reverb is shared by the whole program, with size, tone and amount. Anything under 200 Hz never enters the hall, so the low end that the bed depends on stays dry and tight while the upper tones can bloom. The A4 tuning lives here too.

There is a floor at 10 Hz. The designer will not let a tone, a pulse side tone or a bell partial go below it, because 10 Hz is the lowest the bed's transducers are rated for and anything lower is wasted amplifier power at best. That rule is enforced on the way in, so you cannot build a program the bed cannot play.

Undo and redo are everywhere (⌘Z and ⇧⌘Z on the web), every save is kept as a version you can go back to from the header, and the timeline zooms. When you render a program you have rendered before, a toggle asks whether to keep the previous version as a separate track or replace it.

Phone or web?

The full designer is the web app at app.zenthesia.com, on a laptop with a keyboard. It has live preview, the shortcuts, and room for the Inspector beside the timeline. On iPad the designer gets the wide layout too, with the Inspector beside the timeline. The phone has the same starting points and the same controls, with a short "How the designer works" walkthrough the first time you open it, and it is fine for tweaking a program you built earlier or for a quick 40 Hz Wave before bed. I build on the web and adjust on the phone.

How it compares

There are four other apps a vibroacoustic bed owner is likely to meet: Sage Space (for the Sage lounges), inHarmony (for the inHarmony lounges), OPUS Connect (for the SoundBed) and VIBROPHILE (for the VIBE hardware). I picked those four because each one is built around a competing device, which makes them the apps a buyer is actually choosing between. At the start of October I sat down with all four on an iPhone, captured what each one actually plays on the phone, and went through every screen. What I found is below. If you want the hardware side of this comparison, the bed comparison guide covers the amplifiers, transducers and build of the devices these apps are made for.

What reaches your phone

A 320 kbps MP3 is a perfectly good way to listen to music, and as I said above, you may not feel the difference on the bed. 128 kbps is a different story. It is what Sage Space and part of inHarmony's catalog stream, and it was the iTunes Store standard until 2009. Fine for earbuds. Not what I want feeding the low end of a transducer bed.

One limit of the measurement: it covers what each app plays on the phone itself. What OPUS Connect sends to its SoundBed when it casts is a separate stream I could not capture, so nothing here makes a claim about it.

Feature by feature

The short version: of the five, the Zenthesia app is the only one that is lossless from the catalog to the bed, and the only one that lets you upload your own music or build your own programs.

How I measured this

Audio was captured by running each app on an iPhone through a local proxy and inspecting the files it downloaded: Sage Space and inHarmony on 30 September 2026 (13 tracks each), OPUS Connect on 3 October (13 tracks), VIBROPHILE on 30 September (11 tracks). Features were checked by using each app and reading its App Store listing on 3 October 2026. Platforms and what each maker includes with its hardware were checked against the App Store, Google Play and each company's own site on 22 October 2026. Zenthesia's bitrate is the average across the live catalog on 22 October 2026. If any of this is out of date by the time you read it, tell me and I will fix it.

What comes next

The catalog is not finished. It will never be finished; that is what a curated library is.

What I am working on right now:

• New tracks in the existing series. I am working with a number of artists to release new music on the app on a regular basis. New shelves will also join the Discover tab as the catalog earns them.
• Journey mixes. Longer-form pieces, an hour and more, for the kind of extended session where the music has to carry someone through a whole arc without a hand on the phone. Practitioners who run psychedelic and ketamine assisted sessions have asked for exactly this.
• More artists. Working with world class sound architects on music composed for the bed has been the most rewarding part of this whole project. I seriously cannot wait to announce some of the artists I am collaborating with.
• Listening stats. Your own listening history and totals, and a global view of the most played tracks across every owner, so you can see what the community reaches for.

Beyond that list, the early roadmap follows customer feedback. Whatever owners ask for that is feasible gets built first, so tell me what you need.

What will not change: the app stays free for bed owners, the catalog stays lossless, casting stays free, and your library stays yours. There is an "Export my data" button in your profile that hands you everything, including links to your own uploaded audio that work for 24 hours, and it will always be there.

Frequently asked questions

A last word

I have been building sound therapy beds for long enough to know what a good one does to a person. What I had never had, until this year, was a way to put the exact tracks I wanted on one, at the quality I wanted, with the context I wanted, and hand that to someone else. The app is that. It is also the thing that let me go to artists I admire, put them on a bed, and ask them to write for it. Watching a composer feel their own music through their body for the first time is a privilege, and it is the reason the catalog will keep growing.

If you own a bed, open the app, go to Discover, and pick a shelf. If you are thinking about one, I hope this gave you a clearer picture of what you would actually be getting: not a piece of furniture with a speaker in it, but an instrument with a library, a designer and a community of people composing for it.

Questions, requests, a track you wish existed: I read every message. support@zenthesia.com, or the Help & support screen in the app.

References and further reading

• Skille, O. (1989). VibroAcoustic Therapy. Music Therapy, 8(1), 61 to 77. https://doi.org/10.1093/mt/8.1.61. The source of the 40 Hz base frequency referenced across the PureVAT series.
• Zenthesia, Tactile Sound: How the Body Feels What the Ear Hears.
• Zenthesia, 40Hz Frequency Therapy: The Science of Gamma Stimulation for Brain and Body.
• Zenthesia, Vibroacoustic Therapy Device Comparison: A Comprehensive Technical Analysis.
• Zenthesia, Vibroacoustic Therapy Research Library.
• Comparison method: see How I measured this, above.