My take on Crystal Singing Bowls and Why We Do Not Use Them In Trauma-Sensitive Sound Baths?

In recent years, crystal bowls, alchemy bowls, and chakra coloured bowls have gained immense popularity within the wellness community. While many swear by their ability to heal and balance energies, it’s essential to recognise that these products are often marketed as transformative tools, riding on the trend of chakras, gemstones, and healing claims.

The price range for these bowls varies depending on manufacturing proccess and materials but also marketing claims. You can get a simple frosted bowl for €100 (which is what most practitioners buys) or a multicoloured, mineral-infused alchemy bowl, worth nearly 9000 euro. While some bowls indeed produce beautiful soothing sounds, much of the marketing focus has shifted from their actual sound qualities to promises of special healing powers.

Crystal bowls come in many types, from frosted bowls, clear quartz bowls to mineral-infused alchemy bowls, coloured chakras bowls and not all are created equal. The quality, craftsmanship, and materials used in their making are what determine their sound and durability.

Frosted bowls, while the cheapest and easiest to play, can be intense and triggering—especially if used for sustained sound (like singing /droning). Made from quartz sand (silica sand) with a frosted surface. Produce clear, high-frequency sounds. While striking them may be fine, their resonance can quickly become overwhelming.

High-quality bowls, crafted with care and using pure crystal or mineral infusions, produce much deeper, richer sounds and while they require more skill to play their sound can bee soothing and harmonising. this unfortunately comes with a very high price, which can be rarely afforded by those who just starts the journey as a sound bath facilitator.

Clear Crystal Bowls: Made from pure quartz crystal - produce a warmer, deeper sound, great for grounding and relaxation and are more affordable. Their sound holds longer in the air and it is not so overwhelming as frosted bowls.

Alchemy Crystal Bowls: Infused with metals or gemstones, also coloured.

Have rich, multidimensional tones. Require a bit more skill to play. I find them soothing and gentler comparing to the frosted bowls. Their price is quite high comparing to other singing bowls. Depending on the supplier and method they use and minarals they infuse them with, they can be anything from 500 euro to 9000 euro for one.

Coloured Crystal Bowls: Made from quartz and coloured with dyes.

Produce a softer tone, associated with specific chakras for healing.

Fused Quartz Bowls: Made from melted quartz. Offer smooth, consistent sounds, good for resonance and clarity.

What is My Personal Experience with Crystal Bowls

I remember the first time I came across crystal bowls. Their clarity and brightness were amazing, but as the session went on, I noticed that I could feel a growing tension in my body and head when the bowls were played for a longer time and espesially droning. The high-pitched frequencies were simply too much for me. Knowing my body, I knew it wasn't a "release" of "blocked energy" that some may claim, but an experience related to overstimulation and sensitivity to high-pitched tones. When I told my husband, he said he had a similar experience. Those sharp, piercing tones weren't soothing for us; they felt overstimulating and very uncomfortable to the point of pain in my ears.

As I started to think about the kind of sound baths I wanted to create, I realized that crystal bowls would not be the best fit for us. The instruments that felt right were those that were more grounding adaptable to different sensitivities, and easier to modulate.

Listening to my Clients

Over the years, I’ve heard similar feedback from many of my clients. Some people told me that high-pitched sounds, like those produced by crystal bowls, felt sharp or even painful. Others said they felt over-stimulated or found it hard to relax. These were not isolated comments—a pattern did emerge, in particular for those sensory sensitivities, tinnitus, or unique auditory processing experiences. This feedback reinforced my decision. It was also a reminder that working with the sound in a setting like sound baths is not just about the instruments we like as facilitators or are trendy —it’s about the people we’re there to support and trying to create more inclusive sessions for such a big variety of people. It is impossible to make it just right for everyone. Some people love loud gongs, some prefer more soothing sounds, and others seek more intense experiences but we should build our awareness about various types of people and try our best to hold the space for those diverse humans. Our sound baths attempt to meet participants somewhere in the middle prioritising a more soothing approach to the nervous system.

Having a transformative experience does not mean one needs to expose oneself to intense practices or intense and loud sounds. Some of the most valuable experiences may happen from soft practices and being gentle with yourself.

As I went on to find out more about the sound and nervous system I found many research and books that were proving the high frequency sounds can have a negative impact on us, so we should use it in a balanced way and not focusing on it throughout the whole session.

Challenging the Myths about Sound Healing

One thing that’s always bothered me is this idea that sensitivity to certain sounds means there’s something “wrong” with me. I have come across certain people who say that when one is uncomfortable with a high frequency, such as from crystal bowls, the person has"blocked chakras" or something needs a shift and clearing, or they have not yet reached some spiritual development step.

I firmly believe that such a philosophy is harmful nonsense.

Sensitivity to sound is deeply individual. Our auditory systems are all different. Some people are naturally more sensitive to certain frequencies, and that’s just a part of being human. It doesn't have anything to do with your spiritual growth or your worth. For instance, people on the autism spectrum or those with heightened sensory awareness may find high-pitched sounds overstimulating. This is not a flaw—it is just how their nervous systems work. Over the years I have become sensitive to certain frequencies, even when singing with the others. It is actually physically painful to listen to highly pitched sounds for me.

We work with thousands of people, and lots of elderly clients who may have similar challenges as their auditory system changes, and I hope that facilitators will begin to move past using such concepts as spiritual growth or blocks as a catch-all explanation for any experience that might be challenging. This is not just related to sound healing; it's a general tendency within many complementary practices. It often shifts responsibility away from the facilitator and unfairly places the blame on the individual.

My Choice of Instruments for the Sound Bath Session

It's clear why crystal bowls have gained popularity in sound healing, but from the start of my journey, I consciously chose not to include them in my sound baths. This decision stemmed from my personal sensitivity to certain high-pitched frequencies, particularly from frosted crystal bowls. I assumed I couldn't be the only one who felt this way, and over time, I've noticed how the intense tones can be overwhelming, especially for trauma-sensitive individuals.

Instead of crystal bowls, I’ve chosen to work with metal instruments like metal singing bowls and gongs. These instruments produce deep, grounding tones that are easier to adjust in terms of volume and intensity. They allow me to create a soundscape that’s flexible and responsive to the group’s needs.

In addition, gongs and metal singing bowls are universally adaptable for sound therapy and are often more versatile in creating a rich variety of tones, from deep bass vibrations to higher resonances. Their sounds can be gentler, more harmonious, and less triggering, particularly for individuals who are sensitive to certain frequencies.

They offer a rich palette of frequencies that I can tailor to the energy of the room.

I can build up intensity gradually or pull back to create a more soothing atmosphere. Metal instruments give me the ability to hold a space that feels supportive, no matter who’s attending the session.

Crystal bowls can be beautiful and powerful, but they are not right for me and some of my clients.

Sound healing, quite ultimately, is about connection and while it is important to stay true to yourself and your right to express yourself, it is also true that we should consider why we do it. It is a space where one feels held, respected, and free to explore their inner worlds in their own time.

In my case, it has come to mean letting go of those tools that might overwhelm or overstimulate people and focusing on the instruments that help them feel at ease.

Beyond personal preference, I also don’t buy into the marketing hype surrounding crystal bowls. Many are sold with promises of special healing powers and chakra-balancing properties.

The Environmental Impact of Crystal Bowls vs. Metal Gongs and Singing Bowls

The material used to make them, particularly the mining of gemstones and silica sand(quartz sand) raises significant environmental concerns. The extraction of these materials is not always sustainable, and the impact on the planet can be devastating, both in terms of resource depletion and ecological damage.

On the other hand, metal gongs and singing bowls offer a more eco-friendly option, especially when compared to crystal bowls. Gongs, often made from bronze or brass, and traditional singing bowls made from alloy metals, tend to be more durable and environmentally responsible. These instruments do not require the same mining practices, and their materials, when sourced properly, have a smaller ecological footprint. Gongs and singing bowls, unlike crystal bowls, are designed to age well and can be passed down for generations, maintaining their resonance over time.

When considering the environmental impact, longevity, and sound quality, metal gongs and singing bowls come out ahead in many ways. They offer a more sustainable, timeless, and ecologically friendly option for sound bath facilitators and participants who seek to create a peaceful, transformative experience while also taking care of the planet.

At Sound Magic Ireland, we take great pride in our carefully curated collection of instruments, which includes flutes, drums, handpans, shakers, gongs and singing bowls. Every piece is a conscious choice, chosen with the utmost care for its quality, craftsmanship, and the values it represents. We prioritise instruments from small artisans and makers who handcraft their creations, ensuring that each tool used in our sound baths carries a story and purpose. We know that the quality and sustainability of the instruments we choose are integral to creating the best sound experience for our participants.

While crystal bowls can be an interesting addition to other sounds, I would like to encourage you to consider the possibility that some participants may experience them more intensely and encourage you to play them with caution. The choice of instruments is a very personal one, but since we are creating a space for others, we must widen our awareness of how others may receive the sounds and seek honest feedback from our participants to grow as facilitators.

If you would like to find out more about my approach to trauma-sensitive sound bath facilitation, check out my website and upcoming training here.