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7 tips to choose a good Tibetan bowl If you are looking for a Tibetan Bowl, you will probably come across a great number of options, stories, myths, and most likely a manufacturer, importer or seller who vehemently assures you that theirs are the best. There is a lot of information about these beautiful instruments with magical sounds, but also you will find information that is contradictory. So we put together this guide so that you know the options and are well informed before choosing. Este mito nace de una antigua leyenda, cuenta que al nacer un niño en las aldeas de los Himalayas, los sabios elaboraban una carta astral del recién nacido, según la tradición vedica. Y luego, un amuleto de metal, que lo acompañaría durante toda su vida. Este contenía metales correspondientes a los planetas hallados en su carta astral. Se calculaba la proporción de cada metal en relación con la posición que tenían los 7 planetas en el momento del nacimiento. Estos a su vez se relacionaban con los 7 cuerpos celestiales, y los 7 chakras del cuerpo. Este amuleto podía tomar diversas formas, como una campana, un ave, un cuenco, etc. Si bien esta leyenda es muy cautivadora, y esta compuesta por elementos que despiertan mucha curiosidad e interés, es solamente un mito que no guarda ningún tipo de relación con la musicoterapia. Los metales que indica como necesarios para formar un buen cuenco son los siguientes: Oro, Plata, Cobre, Mercurio, Estaño, Hierro y Plomo. En algunos casos el relato es repetido con algunas variaciones, mencionando también otros metales que no tienen ninguna relación con la leyenda. Pudiendo incluir hasta 9, 12 o 15 metales diferentes, que supuestamente lograrían un mejor cuenco. Otras versiones del mito, cuenta que los tibetanos hacían sus tazones con restos de meteoritos caídos a la tierra. Lo cual tampoco tiene sentido, si reparamos en que los meteoritos están compuestos principalmente por Hierro. ​ Así que aquí te presentamos 5 razones por las cuales este mito no es cierto y por qué no deberías comprar un cuenco que te ofrezcan como hecho de 7metales: 1.- No todos los metales pueden unirse o mezclares entre sí: De la misma forma que el agua y el aceite, o el metal y la madera. Hay metales que no son compatibles y no pueden unirse entre si, o formar una aleación estable, como el mercurio y el hierro, o el mercurio y el oro. Esto implica que, aparentemente puedan estar unidos, pero ante el más mínimo golpe la pieza se quebraría en fragmentos. 2.- El mito menciona metales altamente tóxicos: como el mercurio y el plomo. Cuya acción neurotóxica es conocida y está muy bien documentada en la literatura medica. Hoy en día el mercurio se encuentra prohibido incluso hasta en termómetros, focos ahorradores y amalgamas dentales, debido al peligro que representan para la salud. Definitivamente no querrías tenerlos en tus Cuencos Tibetanos, ya que estarán en constante contacto con tus manos. El solo contacto con el mercurio podría causarte severas irritaciones o alergias en la piel a muy corto plazo. 3.- Nunca encontrarás oro en un Cuenco Tibetano: Muchos vendedores podrían decirte que sí, pero, ¿de cuánto oro estaríamos hablando realmente? Debido a su alto costo, 55€ el gramo, es probable que no mas de 1 o 2 gramos. Y con tan solo esta cantidad estaríamos teniendo un gran problema, el cuenco seria demasiado caro. 110€ sin contar el costo de los 500gr de otros metales que si necesita tener un cuenco. Te has preguntado, ¿cuál es el potencial terapéutico de un par de gramos de Oro en un Cuenco? Pues ninguno, el oro es conocido principalmente por sus propiedades estéticas, como el brillo y la resistencia a la corrosión, pero también por la conductividad y resistencia térmica. Propiedades que de ninguna forma se relacionan con el sonido, y por lo tanto es totalmente prescindible en la composición de un Cuenco Tibetano. 4.- No tenemos forma de comprobar qué metales tiene: La única manera por la cual podemos saber que metales contiene un Cuenco Tibetano, es por medio de reacciones químicas en un laboratorio y observándolo mediante en un microscopio metalografico. La palabra de un vendedor no es realmente suficiente para estar seguros de su contenido. Es por eso que algunos productos muy caros, como las joyas o relojes, se entregan con un certificado de calidad que sirve como garantía de su contenido. Pero ciertamente no es el caso de los cuencos tibetanos ya que ningún vendedor ofrece una certificación que revele su formula secreta. En nuestro Curso gratis Online te enseñamos cómo identificar un verdadero Cuenco Tibetano y como descartar uno de mala calidad. ​ ​ 5.- No se necesitan más de 2 metales para que un cuenco suene perfectamente: En nuestros inicios como fabricantes de cuencos tibetanos, una de nuestras primeras incógnitas fue justamente esa, ¿De qué esta hecho un buen cuenco tibetano? Para responderla llevamos al laboratorio nuestra colección de cuencos de distintas procedencias: Tibetanos, Nepaleses, Japoneses, Hindúes, Vietnamitas, etc. De los cuales extrajimos muestras mediante un raspado, para ser evaluados mediante diferentes reacciones químicas y así descubrir su contenido. Los resultados mostraron que el 94% de las muestras contenían principalmente 2 metales, el cobre y el zinc. Pero también otros menos frecuentes como el estaño y la plata. De este pequeño examen pudimos deducir que lo dos únicos metales esenciales para obtener un buen cuenco son el cobre y el zinc. Todas las demás propiedades vibroacusticas se obtienen a partir del método de elaboración que se utilice y la calidad de la técnica, mas no de los metales que lo componen. 6.- Los cuencos que mezclan muchos metales, están hechos por el método de fundición: Existen muchos métodos de fabricación de cuencos, pero sin duda, el que menor calidad aporta, es la fundición. Básicamente consiste en derretir una cantidad de terminada de metales hasta volverlos líquidos, para luego verterlos en un molde de arena con la forma de cuenco. De este método surgen dos grandes problemas. El más grave, es que en esta mezcla entra de todo. Metales recolectados de centros de reciclaje, provenientes de desechos y descartes de otros procesos metalúrgicos. En nuestro Curso gratuito , te mostramos los diferentes métodos de fabricación y cuál es el mejor. ​ La forma más fácil de reconocer un cuenco hecho por este método, es por su diseño. Los cuenco fundidos están mayormente muy decorados. Pintura de colores, símbolos en toda su superficie, o completamente pintados. A fin de que el metal que lo compone, quede escondido debajo de la pintura y no pueda identificarse fácilmente. Es también el caso de los cuencos que tienen un Buda en alto relieve en el interior o cuyas paredes internas son ásperas como la arena. Los Cuencos Tibetanos son uno de esos geniales casos en los que menos, es más. Sumar metales no le otorgará propiedades mágicas ni la capacidad de curar enfermedades. Ya son una herramienta maravillosa y producen efectos increíbles en nuestro cuerpo cuando los escuchamos. Si te interesa conocerlos, te sugerimos echarle un vistazo a nuestro Curso gratis Online , donde te contamos sobre la bioquímica de la relajación y todos los efectos que se producen en el cuerpo cuando escuchamos sonar un Cuenco Tibetano. En Sattva Instrumentos, hacemos nuestros cuencos principalmente con Cobre y Zinc, pudiendo contener Niquel en algunos casos, para aportar más sostén y brillo a su sonido. No se necesitan más metales para elaborar un cuenco, sus propiedades vibroacusticas provienen de la técnica con la que se elaboran, no de la sumatoria de metales. Un buen artesano puede lograr un excelente cuenco con 2 metales y una buena técnica. Un artesano poco experimentado seguirá sumando metales sin alcanzar un buen resultado. 1.- Its origin: We tend to admire things that come from abroad, especially from the East. They usually tell us that the best bowls are made in the India, sometimes this may be true but most of the time, sadly it is not. Today bowls are made in many parts of the world in addition to the East, such as the United States, Germany and Argentina. Countries where it has been achieved the best quality level for these instruments, combining ancient techniques with modern methods. At present, India and Nepal are no longer the center of activity, distorted by tourism and trade, there are few manufacturers that achieve instruments of remarkable sound. ​ 2.- The manufacturing method: This is the point where the paths and the stories are most diversified. There are as many ways to make a bowl as there are ways to think. Some better than others, some very undesirable. Among the best techniques, in no order of priority, are hammering, artisan embossing and stamping. Among the not very good, there are the smelting method and other industrialized methods. Here we will tell you a little about each one: ​ + Hammering : Although it is the oldest technique and one of the best, this does not always ensure the quality of a bowl. From the beginning, this was the preferred method of manufacturers, it was practically the only way that existed to make a bowl back then. Today it is still the method of choice for some manufacturers but it is difficult to find who elaborate and fine-tune them in the right way. It is very common to find bowls hammered with a lot of passion, but with a very poor degree of tuning. It is a technique that requires a lot of knowledge and years of experience, which very few manufacturers in the world really master. ​ + Embossing : If the term is strange to you, it is a very similar method to the one used to make pots from ceramics. In which the piece is rotated at a certain speed, and is formed with the contact of the hands, or tool in our case. The greatest advantage of this method is homogeneity. This means that all parts of the bowl have the same level of tension and hardness, which represents a much higher degree of tuning and harmony in the sound of the bowl. This is the most difficult point to achieve in the hammering technique, as each blow adds a great deal of uneven stress. A very experienced manufacturer should be able to pull it off, but this is rarely the case. The best way to recognize it is to listen to a harmonious relationship between all the sounds the bowl makes. In simple terms, if the bowl sounds beautiful, it was well crafted. If it sounds weird, it wasn't. Embossing can be done in an artisanal or industrial way, the biggest disadvantage that this method can present is on an aesthetic level. Since when the bowl is made in an industrial way, the machine leaves circumscribed marks on the bowl, similar to those of drum cymbals. If the bowl is made correctly and by hand, you will not find any brand, but if the most wonderful sound. ​ + Stamping : It is one of the most modern techniques that exists, commonly used to make parts of cars, pots, lamps, among others. Yes the method is well used, it allows to achieve a very good level of sound quality. It should be noted that it is a 100% industrialized method. If the result is what counts for you, and not the medium, this shouldn't matter much to you. But if what you are looking for is a handmade instrument, made with love and dedication by the hands of a being, this method will not be your favorite. ​ + Casting : From any point of view, this is the least desirable brewing method for making a bowl. Since it obtains the poorest results in terms of quality, resonance, vibration, volume, weight, finish, etc. They are easily recognizable by their rough interior, similar to the plaster of a wall before being painted. In the case of imported bowls, this method can be combined with a very striking drawing, in an attempt to touch the Buddhist culture. This method is used by those looking for a fast production or voluminous, and usually fulfill the function of adornment rather than a musical or therapeutic instrument. They are very heavy bowls, very sharp and low in noise. ​ 3.- The metals that compose it: The most controversial and wonderful point at the same time. The alchemy of the instrument is perhaps the most magical part in the gestation of a new bowl. It is important to know how to discern what is useful from what is not. But above all, what is true of what is false. If you are so fascinated by the number 7 Like us, who name this note as the "7 tips to choose a bowl", you have probably also fallen in love with the myth of the 7 metals. This story tells that a good bowl needs to be composed of 7 metals to be good, although in theory this myth is beautiful, it is totally unfounded. These metals would be Gold, Silver, Copper, Mercury, Tin, Iron and Lead. At the beginning, this myth collapses when it is found that not all these metals are "alloyable", that is, they cannot be mixed with each other. Like Mercury and Gold. Or that some of these are so toxic that the simple fact of coming into contact with them generates a very high level of toxicity in your skin, such as Lead and Mercury. They are metals that you really don't want to have in your bowl. There are manufacturers that to resonate with the myth, they devised their own mixture of metals, which has little to do with its proposal, but they comply with the label "Bowl of 7 Metals". Thus They take the opportunity to close some sales. Multiple studies have shown that numerous adhesion of metals does not represent a beneficial or necessary factor for the quality of the bowl. We recommend that, if you find a bowl that claims to contain 7 metals, you apply with it for a content certification. In this way you will be able to know what percentage of Gold or Silver it contains, or if it contains metals that can be harmful to your health in the long term. If you don't receive a certification with your bowl, don't worry! You can use the metallographic microscope that, all we have at home? ​ Studies have shown that the best metals to achieve an excellent bowl are: Copper, Zinc, Tin, and Nickel, combined in different ways or alloys. They are the metals that you will find in the best Nepalese bowls of yesteryear. Outside of that, you really don't need to spend a fortune on a bowl containing particles of Gold. ​ 4.- The intention of the person who sells it: This is where our intuition comes into play, knowing how to read to those who offer us the bowl. To be able to identify if we have an avid importer in front of us, willing to tell us any story to make a sale. Or we find ourselves in the presence of a craftsman, who bathes his instruments in passion and love for what he does. ​ 5.- The design: It is of course a beautiful and important part of our bowl, but it should never be prioritized over any of the other 6 factors. The most beautiful and eye-catching bowls, They tend to focus their potential on this aspect, completely neglecting the truly important ones. Although the finish should reflect the degree of dedication that your manager gave you, the best bowls tend to have a rather rustic design, rather than overly thought out. ​ 6.- The size: This point depends mainly on the purpose that the bowl will have in your life. If you are looking for it to connect with sound through meditation, to accompany and complement a Reiki session, or for vibrational therapeutic work, such as bowl massages. Contrary to what is said, it is not necessary to have a bowl for each chakra. You can start with a single bowl, which will be the gateway to this extensive path. If you are looking for it to meditate or to complement a Reiki session, the choice is for the smaller or sharp bowls. These have more capacity to generate volume and to be heard at a medium distance. On the other hand, if you are dabbling in physical work What sound massages, large and lower bowls will be the ideal tool. The larger ones generate low frequencies and bass tones, these have more capacity to relax the muscles and tissues of the body than the sharp or small bowls. Also consider the following factors: ​ - Bass sounds are projected downward, and spread more easily within the body, through the bones. This factor is the most useful and ideal for work on a stretcher. ​ - High-pitched sounds are projected upward, and flow more easily at the ether level. Its waves spread through the air and reach your ears or those of those who listen to you more easily. The physical body is less able to perceive these sounds. ​ - Treble bowls for high chakras, Bass bowls for low chakras. Although we can get lost for hours in all the theories that relate each sound or note to each chakra, an infallible trick is to use high-pitched bowls for the high chakras and low for the low ones. It is very complex and inaccurate affirm that your laryngian chakra vibrates at the same frequency as that of the writer, and at same time as certain Tibetan Tale. If we consider that we will rarely be able to find a bowl of any kind, perfectly tuned to a musical note, this parameter becomes very difficult to apply and impractical. However, it is easy notice how Bass bowls positively affect the body, from the balls of the feet to the solar plexus. And how the middle and high bowls subtly caress the chakras from the plexus to the crown. ​ 7.- The sound: While the 6 Above points are super important, don't let them distract you too much. A good bowl is one that sounds good! It can be made of the best metals or with the best method the industry can provide, but if it sounds bad, it's not a good bowl. The most important thing, in our opinion and therapeutic experience, is that the bowl reflects in its sound, all the love that an artisan puts into his work, in the dedication to every detail and part of the elaboration process, the energy that he puts into his work. work, and the knowledge that his years of experience have nurtured. These factors result in an indisputable and wonderful sound that you can easily perceive. ​ If you liked this short guide, You want to know more about the Tibetan Bowls and deepen these concepts, we invite you to participate in the Next Intensive Seminar on Tibetan Bowls , in Saavedra. ​ + About us : We are creators and manufacturers of various instruments for music therapy, such as Gongs, Tibetan Bowls, Sattva Drum, Handpans, among others. We dedicate our energy to its study and development for more than 7 years, using a specific technique for each instrument and thus achieve the best possible quality, above all else.

Acquire them here ! 7 tips to choose a good Tibetan bowl Seguramente te habrás preguntado como se hace un Cuenco Tibetano y cual es el mejor método para elaborarlo. Este es el punto donde más se diversifican los caminos y las historias respecto a los Cuencos Tibetanos. Existen muchas formas de hacerlos . Algunas mejores que otras, algunas muy poco apropiadas. Entre las mejores técnicas están el martillado, el repujado artesanal y el estampado. Entre las menos aptas, están la fundición y otros métodos industrializados. Aquí te contaremos un poco sobre cada uno: ​ El martillado: ​ Este método consiste en tomar una pieza redonda de metal fundido o laminado, similar a una gran moneda. Calentarlo hasta el rojo vivo, mediante un horno, soplete o fragua, para ablandarlo y aumentar su grado de maleabilidad. Y martillarlo constantemente sobre un molde cóncavo para darle forma. ​ Conforme se va golpeando el metal, este se endurece y requiere ser calentado nuevamente para recuperar su maleabilidad. Este proceso se conoce como recocido y se repite muchas veces hasta lograr la forma deseada, Si bien es la técnica más antigua y una de las mejores, esto no siempre asegura la calidad del cuenco. Desde sus inicios, este fue el método preferido de los fabricantes, ya que era prácticamente la única forma que existía de hacer un cuenco en aquel entonces. En la actualidad sigue siendo el método de elección de algunos fabricantes pero es difícil encontrar quién los elabore y afine de la forma correcta. Ya que, darle la forma de cuenco es relativamente fácil, el reto está en lograr equilibrar la infinidad de tensiones introducidas en el metal por cada golpe de martillo. Es muy común encontrar cuencos martillados con mucha pasión, pero con un grado de afinación muy pobre. Es una técnica que requiere muchísimo conocimiento y años de experiencia, que muy pocos fabricantes en el mundo dominan. ​ El Repujado: Si el termino te resulta extraño, imagina un método muy similar al que un alfarero utiliza para elaborar vasijas de cerámica. En el que se hace girar la pieza y se va formando con el contacto de las manos. ​ En el caso de los Cuencos Tibetanos, se parte de una lamina de metal redonda. Que se calienta al rojo vivo para ablandarla completamente y poder moldearla. Luego de este proceso el metal queda casi tan suave como una goma. ​ Luego se hace girar el metal sobre una plataforma a una velocidad especifica y se empieza a moldear, con la ayuda de una palanca para ejercer mayor presión sobre el metal. Así, se le empieza a dar la forma curva típica de los cuencos. Esta etapa dura apenas unos segundos, ya que el metal se endurece rápidamente y es necesario volver a calentarlo. De lo contrario, la tensión residual acumulada en el metal, ocasionaría que el metal estalle en mil pedazos. Esa misma tensión que se acumula poco a poco dentro del metal, es la misma que luego generará los distintos sonidos dentro del cuenco. Dichas tensiones se van sumando y regulando durante todo el proceso de elaboración. De la misma forma con la que se ajusta la tensión en la cuerda de una guitarra, buscando el sonido correcto. Pero esta compleja practica, requiere de mucho cuidado, conocimiento y experiencia. La mayor ventaja que ofrece este método es la homogeneidad. Esto quiere decir que todas las partes del cuenco presentan un mismo nivel de tensión y dureza, lo cual representa un grado de afinación y armonía mucho mayor en el sonido del cuenco. Este es el punto más difícil de lograr con otros métodos, como la técnica del martillado, ya que cada golpe agrega una gran cantidad de tensiones muy irregulares. Si las tensiones fueron bien equilibradas dentro del cuenco, sea cual sea el metodo que se haya utilizado, el cuenco sonara hermosamente. La mejor forma de reconocerlo es escuchar una relación armónica entre todos los sonidos que emite el cuenco. En términos simples, si el cuenco suena hermoso, fue bien elaborado. Si suena raro, no lo fue. ​ El Estampado: ​ Es una de las técnicas más modernas que existe, comúnmente usada para elaborar partes de autos, ollas, lamparas, entre otros. Su principal busqueda puede resumirse en dos palabras: producción acelerada. Si el método llega a ser bien empleado, permite alcanzar un buen nivel de calidad sonora. Cabe recalcar, que es un método 100% industrializado. Si el resultado es lo que cuenta para ti, y no el medio, esto no debería importarte mucho. Pero si lo que buscas es un instrumento artesanal, elaborado con pasión y dedicación por las manos de un artesano, este método no será tu favorito. ​ La Fundición: ​ Este método consiste en fundir cierta cantidad de metal hasta volverlo completamente liquido, para luego verterlo sobre un molde de arena que dará forma total al cuenco. En tan solo un par de minutos se logra lo que con otros métodos tomaría semanas de trabajo. ​ En este caso la velocidad puede parecer algo ventajoso, hasta que notamos la cantidad de beneficios que hemos perdido por ir demasiado rápido. Los cuencos fundidos carecen totalmente de tensión, ya que el metal no ha sido estirado de ninguna forma. Esto deriva en que el sonido que produce sea muy opaco, la resonancia muy escasa, y el timbre muy agudo. ​ ​ 1/2 Son fácilmente reconocibles por su interior rugoso, producido por el molde de arena. Similar al revoque de una pared antes de ser pintada. Este método puede ser combinado con un dibujo muy llamativo generalmente budista, en un intento de hacerlo lucir más atractivo. La fundición es utilizada por quienes buscan una producción rápida o voluminosa, y suelen cumplir más la función de adorno que de instrumento musical o terapéutico. Son cuencos muy pesados, muy agudos y de baja sonoridad. ​ Desde cualquier punto de vista, este es el método de elaboración menos recomendado para hacer un cuenco. Ya que obtiene los resultados más pobres a nivel calidad, resonancia, vibración, volumen, peso, acabado, etc. 1.- Its origin: We tend to admire things that come from abroad, especially from the East. They usually tell us that the best bowls are made in the India, sometimes this may be true but most of the time, sadly it is not. Today bowls are made in many parts of the world in addition to the East, such as the United States, Germany and Argentina. Countries where it has been achieved the best quality level for these instruments, combining ancient techniques with modern methods. At present, India and Nepal are no longer the center of activity, distorted by tourism and trade, there are few manufacturers that achieve instruments of remarkable sound. ​ 2.- The manufacturing method: This is the point where the paths and the stories are most diversified. There are as many ways to make a bowl as there are ways to think. Some better than others, some very undesirable. Among the best techniques, in no order of priority, are hammering, artisan embossing and stamping. Among the not very good, there are the smelting method and other industrialized methods. Here we will tell you a little about each one: ​ + Hammering : Although it is the oldest technique and one of the best, this does not always ensure the quality of a bowl. From the beginning, this was the preferred method of manufacturers, it was practically the only way that existed to make a bowl back then. Today it is still the method of choice for some manufacturers but it is difficult to find who elaborate and fine-tune them in the right way. It is very common to find bowls hammered with a lot of passion, but with a very poor degree of tuning. It is a technique that requires a lot of knowledge and years of experience, which very few manufacturers in the world really master. ​ + Embossing : If the term is strange to you, it is a very similar method to the one used to make pots from ceramics. In which the piece is rotated at a certain speed, and is formed with the contact of the hands, or tool in our case. The greatest advantage of this method is homogeneity. This means that all parts of the bowl have the same level of tension and hardness, which represents a much higher degree of tuning and harmony in the sound of the bowl. This is the most difficult point to achieve in the hammering technique, as each blow adds a great deal of uneven stress. A very experienced manufacturer should be able to pull it off, but this is rarely the case. The best way to recognize it is to listen to a harmonious relationship between all the sounds the bowl makes. In simple terms, if the bowl sounds beautiful, it was well crafted. If it sounds weird, it wasn't. Embossing can be done in an artisanal or industrial way, the biggest disadvantage that this method can present is on an aesthetic level. Since when the bowl is made in an industrial way, the machine leaves circumscribed marks on the bowl, similar to those of drum cymbals. If the bowl is made correctly and by hand, you will not find any brand, but if the most wonderful sound. ​ + Stamping : It is one of the most modern techniques that exists, commonly used to make parts of cars, pots, lamps, among others. Yes the method is well used, it allows to achieve a very good level of sound quality. It should be noted that it is a 100% industrialized method. If the result is what counts for you, and not the medium, this shouldn't matter much to you. But if what you are looking for is a handmade instrument, made with love and dedication by the hands of a being, this method will not be your favorite. ​ + Casting : From any point of view, this is the least desirable brewing method for making a bowl. Since it obtains the poorest results in terms of quality, resonance, vibration, volume, weight, finish, etc. They are easily recognizable by their rough interior, similar to the plaster of a wall before being painted. In the case of imported bowls, this method can be combined with a very striking drawing, in an attempt to touch the Buddhist culture. This method is used by those looking for a fast production or voluminous, and usually fulfill the function of adornment rather than a musical or therapeutic instrument. They are very heavy bowls, very sharp and low in noise. ​ 3.- The metals that compose it: The most controversial and wonderful point at the same time. The alchemy of the instrument is perhaps the most magical part in the gestation of a new bowl. It is important to know how to discern what is useful from what is not. But above all, what is true of what is false. If you are so fascinated by the number 7 Like us, who name this note as the "7 tips to choose a bowl", you have probably also fallen in love with the myth of the 7 metals. This story tells that a good bowl needs to be composed of 7 metals to be good, although in theory this myth is beautiful, it is totally unfounded. These metals would be Gold, Silver, Copper, Mercury, Tin, Iron and Lead. At the beginning, this myth collapses when it is found that not all these metals are "alloyable", that is, they cannot be mixed with each other. Like Mercury and Gold. Or that some of these are so toxic that the simple fact of coming into contact with them generates a very high level of toxicity in your skin, such as Lead and Mercury. They are metals that you really don't want to have in your bowl. There are manufacturers that to resonate with the myth, they devised their own mixture of metals, which has little to do with its proposal, but they comply with the label "Bowl of 7 Metals". Thus They take the opportunity to close some sales. Multiple studies have shown that numerous adhesion of metals does not represent a beneficial or necessary factor for the quality of the bowl. We recommend that, if you find a bowl that claims to contain 7 metals, you apply with it for a content certification. In this way you will be able to know what percentage of Gold or Silver it contains, or if it contains metals that can be harmful to your health in the long term. If you don't receive a certification with your bowl, don't worry! You can use the metallographic microscope that, all we have at home? ​ Studies have shown that the best metals to achieve an excellent bowl are: Copper, Zinc, Tin, and Nickel, combined in different ways or alloys. They are the metals that you will find in the best Nepalese bowls of yesteryear. Outside of that, you really don't need to spend a fortune on a bowl containing particles of Gold. ​ 4.- The intention of the person who sells it: This is where our intuition comes into play, knowing how to read to those who offer us the bowl. To be able to identify if we have an avid importer in front of us, willing to tell us any story to make a sale. Or we find ourselves in the presence of a craftsman, who bathes his instruments in passion and love for what he does. ​ 5.- The design: It is of course a beautiful and important part of our bowl, but it should never be prioritized over any of the other 6 factors. The most beautiful and eye-catching bowls, They tend to focus their potential on this aspect, completely neglecting the truly important ones. Although the finish should reflect the degree of dedication that your manager gave you, the best bowls tend to have a rather rustic design, rather than overly thought out. ​ 6.- The size: This point depends mainly on the purpose that the bowl will have in your life. If you are looking for it to connect with sound through meditation, to accompany and complement a Reiki session, or for vibrational therapeutic work, such as bowl massages. Contrary to what is said, it is not necessary to have a bowl for each chakra. You can start with a single bowl, which will be the gateway to this extensive path. If you are looking for it to meditate or to complement a Reiki session, the choice is for the smaller or sharp bowls. These have more capacity to generate volume and to be heard at a medium distance. On the other hand, if you are dabbling in physical work What sound massages, large and lower bowls will be the ideal tool. The larger ones generate low frequencies and bass tones, these have more capacity to relax the muscles and tissues of the body than the sharp or small bowls. Also consider the following factors: ​ - Bass sounds are projected downward, and spread more easily within the body, through the bones. This factor is the most useful and ideal for work on a stretcher. ​ - High-pitched sounds are projected upward, and flow more easily at the ether level. Its waves spread through the air and reach your ears or those of those who listen to you more easily. The physical body is less able to perceive these sounds. ​ - Treble bowls for high chakras, Bass bowls for low chakras. Although we can get lost for hours in all the theories that relate each sound or note to each chakra, an infallible trick is to use high-pitched bowls for the high chakras and low for the low ones. It is very complex and inaccurate affirm that your laryngian chakra vibrates at the same frequency as that of the writer, and at same time as certain Tibetan Tale. If we consider that we will rarely be able to find a bowl of any kind, perfectly tuned to a musical note, this parameter becomes very difficult to apply and impractical. However, it is easy notice how Bass bowls positively affect the body, from the balls of the feet to the solar plexus. And how the middle and high bowls subtly caress the chakras from the plexus to the crown. ​ 7.- The sound: While the 6 Above points are super important, don't let them distract you too much. A good bowl is one that sounds good! It can be made of the best metals or with the best method the industry can provide, but if it sounds bad, it's not a good bowl. The most important thing, in our opinion and therapeutic experience, is that the bowl reflects in its sound, all the love that an artisan puts into his work, in the dedication to every detail and part of the elaboration process, the energy that he puts into his work. work, and the knowledge that his years of experience have nurtured. These factors result in an indisputable and wonderful sound that you can easily perceive. ​ If you liked this short guide, You want to know more about the Tibetan Bowls and deepen these concepts, we invite you to participate in the Next Intensive Seminar on Tibetan Bowls , in Saavedra. ​ + About us : We are creators and manufacturers of various instruments for music therapy, such as Gongs, Tibetan Bowls, Sattva Drum, Handpans, among others. We dedicate our energy to its study and development for more than 7 years, using a specific technique for each instrument and thus achieve the best possible quality, above all else. Conoce nuestros Cuencos Mira lo que pasa cuando pones un Cuenco Sattva sobre el agua

Videos: Models Videos courses Prices Set completo Complete Set of Tibetan Bowls Sattva set terapeutico Sattva Tibetan Bowls Therapeutic Set set basico Basic Set of Sattva Bowls Cuenc 23cm Tibetan Sattva Bowl 23cm Cuenco 18cm Tibetan Bowl Sattva 18cm Tibetan Bowl Sattva 15cm Cuenc 15cm Cuenco 13cm Tibetan Sattva Bowl 13cm Cuenco 10cm Tibetan Bowl Sattva 10cm Models Videos Seminars Prices

Tibetan Bowls Models Videos courses Prices Los cuencos tibetanos son una poderosa herramienta para terapias vibracionales, una enorme fuente de sonidos y armónicos. Al ser golpeados o frotados, producen un sonido fundamental del cual se desprenden otros sonidos más agudos, que guardan una relación armónica entre si. Este sonido se puede prolongar durante mucho tiempo frotando el cuenco con la baqueta, que puede ser de cuero, madera o goma. La vibración producida por los cuencos tibetanos tiene la particularidad de introducirse en el cuerpo, viajar por los huesos e irradiarse por todos los órganos y tejidos. Son creados para alinear la energía de quien lo usa y/o recibe su vibración. Su función armonizadora sincroniza la vibración de los cuerpos material, mental y emocional, con la frecuencia del sonido del cuenco. Es por eso que nuestros cuencos están siempre afinados en frecuencias vibracionales graves, que ayuden a descender nuestro acelerado ritmo de vida. Te brindamos en cada instrumento una puerta que lleve al encuentro con tu ser esencial, creando con sus sonidos y vibraciones, estados de relajación y conexión profunda. Los Cuencos Sattva están hechos artesanalmente con mucha dedicación y amor por nuestro trabajo. BENEFICIOS DE LOS CUENCOS Inducen a una relajación profunda. Armonización corporal y suave masaje celular. Reduce los niveles de cortisol y adrenalina (hormonas del estres) en el cuerpo. Alivio del estrés y la ansiedad. Reduce la actividad del sistema nervioso simpatico e incrementa la actividad del sistema parasimpatico (Sistema de reparación y homeostasis). Mejoran de la creatividad. Mejoran de la concentración. Equilibra los hemisferios cerebrales. Alivio de dolores óseos, articulares y musculares. 1/5 See Prices and Sizes Tibetan bowls are a powerful tool for vibrational therapy, a huge source of sounds and harmonics. When struck or rubbed, they produce a fundamental sound from which other higher pitched sounds are released, which are harmoniously related to each other. This sound can be prolonged for a long time by rubbing the bowl with the drumstick, which can be made of leather, wood or rubber. The vibration produced by the Tibetan bowls has the peculiarity of entering the body, traveling through the bones and radiating through all organs and tissues. They are created to align the energy of those who use it and / or receive its vibration. Its harmonizing function synchronizes the vibration of the material, mental and emotional bodies with the frequency of the sound of the bowl. That is why our bowls are always tuned to low vibrational frequencies, which help slow down our fast pace of life. We offer you in each instrument a door that leads to the encounter with your essential being, creating with its sounds and vibrations, states of relaxation and deep connection. Sattva Bowls are handcrafted with great dedication and love for our work, at the same quality level as all our instruments. ​ ​ ​ ​ BENEFITS OF BOWLS Achievement of deep relaxation. Body harmonization and gentle cellular massage. Reduces the levels of cortisol and adrenaline (hormones. stress) on the body. Relief from stress and anxiety. Reduces the activity of the sympathetic nervous system (system stress) and increases the activity of the parasympathetic system (System of repair and homeostasis). Improved creativity. Improved concentration. Balances the cerebral hemispheres. Relief of bone, joint and muscle pain. ​ ​ ​ ​ ​ ​ HOW TO CHOOSE A TIBETAN BOWL The bowls differ in two basic and elementary aspects: Frequency and size. There is an inverse relationship between these two aspects. The larger the bowl, the lower its vibrational frequency or pitch. The smaller the bowl, the higher its frequency. The human ear is capable of perceiving sounds from 20 to 20000hz. However, the appropriate frequency range for the body is between 16 and 300hz. Unlike other instruments, Tibetan bowls are not classified or tuned in musical notes, but rather in frequency ranges. The appropriate choice of a bowl depends on the search of each person. There is no one frequency that is better than another, only more appropriate for one job or another. If the bowl is used for sound massages, it is ideal that its frequency is as low as possible. If the bowl is used for meditation or exercises for balancing the cerebral hemispheres, somewhat higher frequencies can be chosen. ​ Obtén gratis un curso de introducción a los Cuencos Tibetanos, con la compra de cualquiera de nuestros cuencos. THE SEVEN METALS ​ There are many myths around Tibetan bowls, some are the result of the mixture of marketing with oriental philosophy. One of these myths indicates that "the best bowl" must be made up of 7 or 9 metals. In our studies and years of experience in the manufacture of various instruments for vibrational therapy, we have proven that there is no use whatsoever to the sum of the different elements proposed by the myth. The Sattva bowls are constituted, like the best Nepalese bowls, basically by Copper, Tin or Zinc. These elements are combined in the right proportion to give the bowl the perfect balance between hardness, toughness, elasticity, and tension. Indispensable characteristics so that they can generate a sound that resonates for a long time, with an appropriate volume and that generates deep vibrations. The other metals that the myth indicates are not useful for sound work, do not provide desired characteristics, are excessively and unnecessarily expensive such as gold or silver, and can even be toxic to the user (lead or mercury). This theme is quite clear when seeing that the 7-metal bowls appeared after 1900, when tourists began to ask oriental artisans for this type of bowls, based on a belief born in the West. Tibetan Bowls have been made for more than 4000 years and true studies reveal that copper, zinc and tin have always been used as their basic composition. Ver Precios y Tamaños Learn all about Tibetan bowls in an intensive seminar: See all about the seminar

Tibetan bowls: Sets and individual Models Videos courses Prices 100% Artisan Argentine Manufacturing Audio Video Audio Video Audio Video Audio Video Audio Video Audio Video Audio Video Audio Video Complete set Ideal for those who dedicate themselves entirely to harmonization work with sound, it has all the necessary bowls to balance the entire body, from the lowest chakras and lower frequencies, up to the highest and highest frequencies. It includes: -Bowls 23cm, 18cm, 15cm, 13cm, 10cm, -Wood and leather ramrod -Rubber and leather ramrod - 5 pads View prices Therapeutic Set Ideal for massages with sound and work therapeutic. This set includes three bowls with very low vibrations, capable of penetrating the body and relaxing the muscles easily. Its sound travels through the bones, facilitating the relaxation of the patient or the recipient vibration. It includes: -Bowls 23cm, 18cm, 15cm -Wood and leather ramrod -Rubber and leather ramrod - 3 Pads View prices Basic Set This is the best set to start in the world of Tibetan Bowls. Since it includes two beautiful sounding bowls, ideal for meditations and harmonization high chakras. AND a 15cm bowl, from which you can start to perform sound massages and achieve a relaxation deep body and mind It includes: -Bowls 15cm, 13cm, 10cm -Wood and leather ramrod - 3 Pads View prices Tibetan bowl 23cm This is the best sound massage bowl. Its bass and deep sounds are capable of vibrating until the last cell of the body. There is no mind or body that resists its mighty vibration. It includes: -Bowl 23cm -Rubber and leather ramrod - 1 Pad View prices Tibetan bowl 18cm This bowl is known to professionals as "the victorinox of Tibetan bowls". Due to its versatility and the multiple uses that can be given to it. It is a light bowl, ideal for carrying and making a sound massage. If you are thinking of starting in the world of massages and harmonization with sound, this is your bowl. It includes: -Bowl 18 cm -Rubber and leather ramrod - 1 Pad View prices Tibetan bowl 15cm Your first bowl: If this is the first time you are buying a Tibetan Bowl, this is the best bowl for you. You can use it to meditate, balance middle and upper chakras, and above all, give a sound massage. Get ready to relax everyone at home. This bowl offers many possibilities with a relatively low investment. It includes: -Bowl 15cm -Wood and leather ramrod - 1 Pad View prices Tibetan bowl 13cm Yes you don't want to invest a lot in your first acquisition or you already have other bowls and are looking to add a tool to balance the higher chakras, this is the right bowl. It includes: -Bowl 13cm -Rubber and leather ramrod - 1 Pad View prices Tibetan bowl 10cm Yes you don't want to invest a lot in your first acquisition or you already have other bowls and are looking to add a tool to balance the higher chakras, this is the right bowl. It includes: -Bowl 10cm -Rubber and leather ramrod - 1 Pad View prices ¿No sabes qué tamaño elegir? Lee esta nota , donde encontrarás todo lo que necesitas saber sobre este aspecto.

Acquire them here ! 7 tips to choose a good Tibetan bowl Si compraste un Cuenco Tibetano y no logras hacerlo sonar, no te preocupes! Con estos tips lograrás hacerlo sonar sin problemas ​ ¿Qué necesitas? ​ 1.- Un Cuenco Tibetano de cualquier tamaño. Si es la primera vez que vas a tocar un Cuenco, te sugerimos empezar por uno de 18cm , si optas por uno más pequeño, te será difícil hacerlo sonar en tu etapa de aprendizaje. ​ 2.- Una baqueta, no importa de qué material esté hecha, lo importante es que la parte que está en contacto con el cuenco esté recubierta de cuero o goma. Esto impedirá que se generen sonidos demasiado agudos o estridentes. Evita las baquetas que son totalmente de madera no recubierta, ya que generan un sonido muy rasposo y estridente. ​ 3.- Un espacio tranquilo y cómodo. Tomate un momento para tí, lejos del mundo exterior. ​ Cómo sostenerlo ​ - Estira el brazo y tu mano de la forma más relajada posible. Los dedos deben estar juntos y completamente estirados. ​ - La parte plana de la base del cuenco, debe apoyarse solo sobre tus dedos, evita que el cuenco toque la palma de tu mano. - Ningún dedo o parte de tu mano debe tocar la parte curva de tu cuenco, ya que es ahí donde se genera el sonido. Tocar esa área impediría que el cuenco empiece a sonar o hará que su sonido se vuelva muy agudo. 1/2 ​ Empieza a frotarlo - Para que comience a sonar, puedes darle un pequeño golpe con la baqueta, la cual debe rebotar inmediatamente para permitir que el cuenco suene libremente por unos segundos. Si dejas la baqueta sobre el cuenco, este se apagará. ​ - De forma circular, frota el borde superior del cuenco en todo su contorno. Los cuencos Sattva , tienen el borde especialmente pulido para que el rozamiento sea lo más suave posible y sea más fácil hacerlos sonar. ​ - Tu mano y la baqueta, deben girar juntas alrededor del cuenco, evita dejar la mano en el centro del cuenco. ​ ​ ​ A tener en cuenta ​ - Regula la presión que ejerces con la baqueta sobre el cuenco, debe ser de un nivel medio. Si ejerces mucha presión, el cuenco se te caerá de la mano o te costará mantenerlo en equilibrio. Si ejerces poca presión, escucharas un golpeteo o zumbido metálico. - Controla la velocidad a la que gira la baqueta alrededor del cuenco. Si la haces girar muy rápido, perderás control del movimiento. El sonido se volverá agudo y escucharas de nuevo un zumbido o golpeteo. ​ - Puedes frotar el cuenco en el sentido que más cómodo te resulte, horario o antihorario. Esto no generará ninguna diferencia 1/3 ​ No olvides ​ - La baqueta debe moverse verticalmente en un ángulo de 75 a 90 grados en referencia al cuenco. Si está demasiado inclinada, perderá contacto y no generará fricción. ​ - Cuando compartas el sonido de tus cuencos con otras personas, evita golpear el cuenco cuando este se encuentre cerca de la persona. Ya que para quien escucha, el sonido que se produce al golpearlo puede resultar invasivo o molesto. Sobre todo si ya se encuentran relajados o en un estado meditativo. ​ - Te recomendamos hacer nuestro curso gratuito , donde te enseñamos todos estos detalles con mayor profundidad. Para que puedas hacer sonar cualquier cuenco sin ningún tipo de problemas. ​ 1.- Its origin: We tend to admire things that come from abroad, especially from the East. They usually tell us that the best bowls are made in the India, sometimes this may be true but most of the time, sadly it is not. Today bowls are made in many parts of the world in addition to the East, such as the United States, Germany and Argentina. Countries where it has been achieved the best quality level for these instruments, combining ancient techniques with modern methods. At present, India and Nepal are no longer the center of activity, distorted by tourism and trade, there are few manufacturers that achieve instruments of remarkable sound. ​ 2.- The manufacturing method: This is the point where the paths and the stories are most diversified. There are as many ways to make a bowl as there are ways to think. Some better than others, some very undesirable. Among the best techniques, in no order of priority, are hammering, artisan embossing and stamping. Among the not very good, there are the smelting method and other industrialized methods. Here we will tell you a little about each one: ​ + Hammering : Although it is the oldest technique and one of the best, this does not always ensure the quality of a bowl. From the beginning, this was the preferred method of manufacturers, it was practically the only way that existed to make a bowl back then. Today it is still the method of choice for some manufacturers but it is difficult to find who elaborate and fine-tune them in the right way. It is very common to find bowls hammered with a lot of passion, but with a very poor degree of tuning. It is a technique that requires a lot of knowledge and years of experience, which very few manufacturers in the world really master. ​ + Embossing : If the term is strange to you, it is a very similar method to the one used to make pots from ceramics. In which the piece is rotated at a certain speed, and is formed with the contact of the hands, or tool in our case. The greatest advantage of this method is homogeneity. This means that all parts of the bowl have the same level of tension and hardness, which represents a much higher degree of tuning and harmony in the sound of the bowl. This is the most difficult point to achieve in the hammering technique, as each blow adds a great deal of uneven stress. A very experienced manufacturer should be able to pull it off, but this is rarely the case. The best way to recognize it is to listen to a harmonious relationship between all the sounds the bowl makes. In simple terms, if the bowl sounds beautiful, it was well crafted. If it sounds weird, it wasn't. Embossing can be done in an artisanal or industrial way, the biggest disadvantage that this method can present is on an aesthetic level. Since when the bowl is made in an industrial way, the machine leaves circumscribed marks on the bowl, similar to those of drum cymbals. If the bowl is made correctly and by hand, you will not find any brand, but if the most wonderful sound. ​ + Stamping : It is one of the most modern techniques that exists, commonly used to make parts of cars, pots, lamps, among others. Yes the method is well used, it allows to achieve a very good level of sound quality. It should be noted that it is a 100% industrialized method. If the result is what counts for you, and not the medium, this shouldn't matter much to you. But if what you are looking for is a handmade instrument, made with love and dedication by the hands of a being, this method will not be your favorite. ​ + Casting : From any point of view, this is the least desirable brewing method for making a bowl. Since it obtains the poorest results in terms of quality, resonance, vibration, volume, weight, finish, etc. They are easily recognizable by their rough interior, similar to the plaster of a wall before being painted. In the case of imported bowls, this method can be combined with a very striking drawing, in an attempt to touch the Buddhist culture. This method is used by those looking for a fast production or voluminous, and usually fulfill the function of adornment rather than a musical or therapeutic instrument. They are very heavy bowls, very sharp and low in noise. ​ 3.- The metals that compose it: The most controversial and wonderful point at the same time. The alchemy of the instrument is perhaps the most magical part in the gestation of a new bowl. It is important to know how to discern what is useful from what is not. But above all, what is true of what is false. If you are so fascinated by the number 7 Like us, who name this note as the "7 tips to choose a bowl", you have probably also fallen in love with the myth of the 7 metals. This story tells that a good bowl needs to be composed of 7 metals to be good, although in theory this myth is beautiful, it is totally unfounded. These metals would be Gold, Silver, Copper, Mercury, Tin, Iron and Lead. At the beginning, this myth collapses when it is found that not all these metals are "alloyable", that is, they cannot be mixed with each other. Like Mercury and Gold. Or that some of these are so toxic that the simple fact of coming into contact with them generates a very high level of toxicity in your skin, such as Lead and Mercury. They are metals that you really don't want to have in your bowl. There are manufacturers that to resonate with the myth, they devised their own mixture of metals, which has little to do with its proposal, but they comply with the label "Bowl of 7 Metals". Thus They take the opportunity to close some sales. Multiple studies have shown that numerous adhesion of metals does not represent a beneficial or necessary factor for the quality of the bowl. We recommend that, if you find a bowl that claims to contain 7 metals, you apply with it for a content certification. In this way you will be able to know what percentage of Gold or Silver it contains, or if it contains metals that can be harmful to your health in the long term. If you don't receive a certification with your bowl, don't worry! You can use the metallographic microscope that, all we have at home? ​ Studies have shown that the best metals to achieve an excellent bowl are: Copper, Zinc, Tin, and Nickel, combined in different ways or alloys. They are the metals that you will find in the best Nepalese bowls of yesteryear. Outside of that, you really don't need to spend a fortune on a bowl containing particles of Gold. ​ 4.- The intention of the person who sells it: This is where our intuition comes into play, knowing how to read to those who offer us the bowl. To be able to identify if we have an avid importer in front of us, willing to tell us any story to make a sale. Or we find ourselves in the presence of a craftsman, who bathes his instruments in passion and love for what he does. ​ 5.- The design: It is of course a beautiful and important part of our bowl, but it should never be prioritized over any of the other 6 factors. The most beautiful and eye-catching bowls, They tend to focus their potential on this aspect, completely neglecting the truly important ones. Although the finish should reflect the degree of dedication that your manager gave you, the best bowls tend to have a rather rustic design, rather than overly thought out. ​ 6.- The size: This point depends mainly on the purpose that the bowl will have in your life. If you are looking for it to connect with sound through meditation, to accompany and complement a Reiki session, or for vibrational therapeutic work, such as bowl massages. Contrary to what is said, it is not necessary to have a bowl for each chakra. You can start with a single bowl, which will be the gateway to this extensive path. If you are looking for it to meditate or to complement a Reiki session, the choice is for the smaller or sharp bowls. These have more capacity to generate volume and to be heard at a medium distance. On the other hand, if you are dabbling in physical work What sound massages, large and lower bowls will be the ideal tool. The larger ones generate low frequencies and bass tones, these have more capacity to relax the muscles and tissues of the body than the sharp or small bowls. Also consider the following factors: ​ - Bass sounds are projected downward, and spread more easily within the body, through the bones. This factor is the most useful and ideal for work on a stretcher. ​ - High-pitched sounds are projected upward, and flow more easily at the ether level. Its waves spread through the air and reach your ears or those of those who listen to you more easily. The physical body is less able to perceive these sounds. ​ - Treble bowls for high chakras, Bass bowls for low chakras. Although we can get lost for hours in all the theories that relate each sound or note to each chakra, an infallible trick is to use high-pitched bowls for the high chakras and low for the low ones. It is very complex and inaccurate affirm that your laryngian chakra vibrates at the same frequency as that of the writer, and at same time as certain Tibetan Tale. If we consider that we will rarely be able to find a bowl of any kind, perfectly tuned to a musical note, this parameter becomes very difficult to apply and impractical. However, it is easy notice how Bass bowls positively affect the body, from the balls of the feet to the solar plexus. And how the middle and high bowls subtly caress the chakras from the plexus to the crown. ​ 7.- The sound: While the 6 Above points are super important, don't let them distract you too much. A good bowl is one that sounds good! It can be made of the best metals or with the best method the industry can provide, but if it sounds bad, it's not a good bowl. The most important thing, in our opinion and therapeutic experience, is that the bowl reflects in its sound, all the love that an artisan puts into his work, in the dedication to every detail and part of the elaboration process, the energy that he puts into his work. work, and the knowledge that his years of experience have nurtured. These factors result in an indisputable and wonderful sound that you can easily perceive. ​ If you liked this short guide, You want to know more about the Tibetan Bowls and deepen these concepts, we invite you to participate in the Next Intensive Seminar on Tibetan Bowls , in Saavedra. ​ + About us : We are creators and manufacturers of various instruments for music therapy, such as Gongs, Tibetan Bowls, Sattva Drum, Handpans, among others. We dedicate our energy to its study and development for more than 7 years, using a specific technique for each instrument and thus achieve the best possible quality, above all else. Conoce nuestros Cuencos Mira lo que pasa cuando pones un Cuenco Sattva sobre el agua

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7 tips to choose a good Tibetan bowl If you are looking for a Tibetan Bowl, you will probably come across a great number of options, stories, myths, and most likely a manufacturer, importer or seller who vehemently assures you that theirs are the best. There is a lot of information about these beautiful instruments with magical sounds, but also you will find information that is contradictory. So we put together this guide so that you know the options and are well informed before choosing. Inscribete aquí ¿Qué vas a conseguir con este curso? Aprenderás a tocar Cuencos como un profesional. Tecnica básica, de cero a Pro. Desde cómo sostener el cuenco, hasta cómo hacer una meditación guiada y tu primer masaje sonoro. Obtendrás información científica sobre los efectos que producen los sonidos en nuestro sistema nervioso y cómo lo relajan. El sustento para tu trabajo diario. Descubrirás los secretos para reconocer un buen cuenco, que se ajuste a tus necesidades y capacidades. Cómo hacer la elección correcta según el camino que buscas emprender. Todo lo que necesitas saber sobre los Cuencos Tibetanos en un solo curso Si te atraen los Cuencos y te gustaría emprender tu camino en la armonización con sonido, este curso es para ti! Ponte en marcha y conoce todos los detalles que te ayudaran a dominar este hermoso arte . Vas a comprender todo, desde la elección de tu primer cuenco, hasta cómo compartir una meditación guiada y los efectos fisiológicos que producen los sonidos en las personas. Curso 100% Online Ancla 1 20 de Noviembre Mexico: 1PM Argentina: 3PM España: 8PM Inscribete aquí 1.- Its origin: We tend to admire things that come from abroad, especially from the East. They usually tell us that the best bowls are made in the India, sometimes this may be true but most of the time, sadly it is not. Today bowls are made in many parts of the world in addition to the East, such as the United States, Germany and Argentina. Countries where it has been achieved the best quality level for these instruments, combining ancient techniques with modern methods. At present, India and Nepal are no longer the center of activity, distorted by tourism and trade, there are few manufacturers that achieve instruments of remarkable sound. ​ 2.- The manufacturing method: This is the point where the paths and the stories are most diversified. There are as many ways to make a bowl as there are ways to think. Some better than others, some very undesirable. Among the best techniques, in no order of priority, are hammering, artisan embossing and stamping. Among the not very good, there are the smelting method and other industrialized methods. Here we will tell you a little about each one: ​ + Hammering : Although it is the oldest technique and one of the best, this does not always ensure the quality of a bowl. From the beginning, this was the preferred method of manufacturers, it was practically the only way that existed to make a bowl back then. Today it is still the method of choice for some manufacturers but it is difficult to find who elaborate and fine-tune them in the right way. It is very common to find bowls hammered with a lot of passion, but with a very poor degree of tuning. It is a technique that requires a lot of knowledge and years of experience, which very few manufacturers in the world really master. ​ + Embossing : If the term is strange to you, it is a very similar method to the one used to make pots from ceramics. In which the piece is rotated at a certain speed, and is formed with the contact of the hands, or tool in our case. The greatest advantage of this method is homogeneity. This means that all parts of the bowl have the same level of tension and hardness, which represents a much higher degree of tuning and harmony in the sound of the bowl. This is the most difficult point to achieve in the hammering technique, as each blow adds a great deal of uneven stress. A very experienced manufacturer should be able to pull it off, but this is rarely the case. The best way to recognize it is to listen to a harmonious relationship between all the sounds the bowl makes. In simple terms, if the bowl sounds beautiful, it was well crafted. If it sounds weird, it wasn't. Embossing can be done in an artisanal or industrial way, the biggest disadvantage that this method can present is on an aesthetic level. Since when the bowl is made in an industrial way, the machine leaves circumscribed marks on the bowl, similar to those of drum cymbals. If the bowl is made correctly and by hand, you will not find any brand, but if the most wonderful sound. ​ + Stamping : It is one of the most modern techniques that exists, commonly used to make parts of cars, pots, lamps, among others. Yes the method is well used, it allows to achieve a very good level of sound quality. It should be noted that it is a 100% industrialized method. If the result is what counts for you, and not the medium, this shouldn't matter much to you. But if what you are looking for is a handmade instrument, made with love and dedication by the hands of a being, this method will not be your favorite. ​ + Casting : From any point of view, this is the least desirable brewing method for making a bowl. Since it obtains the poorest results in terms of quality, resonance, vibration, volume, weight, finish, etc. They are easily recognizable by their rough interior, similar to the plaster of a wall before being painted. In the case of imported bowls, this method can be combined with a very striking drawing, in an attempt to touch the Buddhist culture. This method is used by those looking for a fast production or voluminous, and usually fulfill the function of adornment rather than a musical or therapeutic instrument. They are very heavy bowls, very sharp and low in noise. ​ 3.- The metals that compose it: The most controversial and wonderful point at the same time. The alchemy of the instrument is perhaps the most magical part in the gestation of a new bowl. It is important to know how to discern what is useful from what is not. But above all, what is true of what is false. If you are so fascinated by the number 7 Like us, who name this note as the "7 tips to choose a bowl", you have probably also fallen in love with the myth of the 7 metals. This story tells that a good bowl needs to be composed of 7 metals to be good, although in theory this myth is beautiful, it is totally unfounded. These metals would be Gold, Silver, Copper, Mercury, Tin, Iron and Lead. At the beginning, this myth collapses when it is found that not all these metals are "alloyable", that is, they cannot be mixed with each other. Like Mercury and Gold. Or that some of these are so toxic that the simple fact of coming into contact with them generates a very high level of toxicity in your skin, such as Lead and Mercury. They are metals that you really don't want to have in your bowl. There are manufacturers that to resonate with the myth, they devised their own mixture of metals, which has little to do with its proposal, but they comply with the label "Bowl of 7 Metals". Thus They take the opportunity to close some sales. Multiple studies have shown that numerous adhesion of metals does not represent a beneficial or necessary factor for the quality of the bowl. We recommend that, if you find a bowl that claims to contain 7 metals, you apply with it for a content certification. In this way you will be able to know what percentage of Gold or Silver it contains, or if it contains metals that can be harmful to your health in the long term. If you don't receive a certification with your bowl, don't worry! You can use the metallographic microscope that, all we have at home? ​ Studies have shown that the best metals to achieve an excellent bowl are: Copper, Zinc, Tin, and Nickel, combined in different ways or alloys. They are the metals that you will find in the best Nepalese bowls of yesteryear. Outside of that, you really don't need to spend a fortune on a bowl containing particles of Gold. ​ 4.- The intention of the person who sells it: This is where our intuition comes into play, knowing how to read to those who offer us the bowl. To be able to identify if we have an avid importer in front of us, willing to tell us any story to make a sale. Or we find ourselves in the presence of a craftsman, who bathes his instruments in passion and love for what he does. ​ 5.- The design: It is of course a beautiful and important part of our bowl, but it should never be prioritized over any of the other 6 factors. The most beautiful and eye-catching bowls, They tend to focus their potential on this aspect, completely neglecting the truly important ones. Although the finish should reflect the degree of dedication that your manager gave you, the best bowls tend to have a rather rustic design, rather than overly thought out. ​ 6.- The size: This point depends mainly on the purpose that the bowl will have in your life. If you are looking for it to connect with sound through meditation, to accompany and complement a Reiki session, or for vibrational therapeutic work, such as bowl massages. Contrary to what is said, it is not necessary to have a bowl for each chakra. You can start with a single bowl, which will be the gateway to this extensive path. If you are looking for it to meditate or to complement a Reiki session, the choice is for the smaller or sharp bowls. These have more capacity to generate volume and to be heard at a medium distance. On the other hand, if you are dabbling in physical work What sound massages, large and lower bowls will be the ideal tool. The larger ones generate low frequencies and bass tones, these have more capacity to relax the muscles and tissues of the body than the sharp or small bowls. Also consider the following factors: ​ - Bass sounds are projected downward, and spread more easily within the body, through the bones. This factor is the most useful and ideal for work on a stretcher. ​ - High-pitched sounds are projected upward, and flow more easily at the ether level. Its waves spread through the air and reach your ears or those of those who listen to you more easily. The physical body is less able to perceive these sounds. ​ - Treble bowls for high chakras, Bass bowls for low chakras. Although we can get lost for hours in all the theories that relate each sound or note to each chakra, an infallible trick is to use high-pitched bowls for the high chakras and low for the low ones. It is very complex and inaccurate affirm that your laryngian chakra vibrates at the same frequency as that of the writer, and at same time as certain Tibetan Tale. If we consider that we will rarely be able to find a bowl of any kind, perfectly tuned to a musical note, this parameter becomes very difficult to apply and impractical. However, it is easy notice how Bass bowls positively affect the body, from the balls of the feet to the solar plexus. And how the middle and high bowls subtly caress the chakras from the plexus to the crown. ​ 7.- The sound: While the 6 Above points are super important, don't let them distract you too much. A good bowl is one that sounds good! It can be made of the best metals or with the best method the industry can provide, but if it sounds bad, it's not a good bowl. The most important thing, in our opinion and therapeutic experience, is that the bowl reflects in its sound, all the love that an artisan puts into his work, in the dedication to every detail and part of the elaboration process, the energy that he puts into his work. work, and the knowledge that his years of experience have nurtured. These factors result in an indisputable and wonderful sound that you can easily perceive. ​ If you liked this short guide, You want to know more about the Tibetan Bowls and deepen these concepts, we invite you to participate in the Next Intensive Seminar on Tibetan Bowls , in Saavedra. ​ + About us : We are creators and manufacturers of various instruments for music therapy, such as Gongs, Tibetan Bowls, Sattva Drum, Handpans, among others. We dedicate our energy to its study and development for more than 7 years, using a specific technique for each instrument and thus achieve the best possible quality, above all else.

7 tips to choose a good Tibetan bowl If you are looking for a Tibetan Bowl, you will probably come across a great number of options, stories, myths, and most likely a manufacturer, importer or seller who vehemently assures you that theirs are the best. There is a lot of information about these beautiful instruments with magical sounds, but also you will find information that is contradictory. So we put together this guide so that you know the options and are well informed before choosing. El tamaño: Depende principalmente del propósito que el cuenco tendrá en tu vida. Si lo buscas para conectar con el sonido a través de una meditación, para acompañar y/o complementar una clase de Yoga. O para un trabajo terapéutico más profundo, como los masajes sonoros o distintas áreas de la musicoterapia. Contrario a lo que se suele comentar, no es necesario contar con un cuenco para cada chakra o un kit entero. Puedes empezar con un solo cuenco, que será la puerta de entrada a este extenso camino. ​ Te sugerimos empezar por un tamaño medio, no elijas nunca el cuenco más pequeño. Si tu presupuesto es muy acotado, te sugerimos esperar un poco y ahorrar algo más. Porque los cuencos más pequeños son los más difíciles de tocar, lo cual te resultará muy frustrante y dificultará tu aprendizaje. Un cuenco de 14 o 15cm suele ser el más cómodo. Asegurate de que no sea demasiado pesado. Prueba sostenerlo sobre la palma de tu mano por unos 30 segundos. Busca la comodidad respecto al peso y tamaño. ​ En nuestro curso de introducción a los Cuencos Tibetanos , repasamos en detalle cuál es el tamaño, peso y forma ideal para cada propósito. Cuenco Tibetano Sattva 18cm El diseño: Es por supuesto una parte importante de nuestro cuenco, pero no debe priorizarse nunca ante ninguno de los otros factores. Los cuencos más hermosos y llamativos, suelen centrar su potencial en este aspecto, usualmente descuidando por completo los verdaderamente importantes, como el sonido o la técnica de fabricación. Si bien el acabado debe reflejar el grado de dedicación que su creador le brindó, los mejores cuencos suelen tener un diseño más bien sobrio o rústico, antes que excesivamente decorado. ​ Los cuencos pintados con colores, suelen ser producidos de forma masiva, nunca hemos encontrado un cuenco pintado que suene bien. En nuestro curso online revisamos decenas de modelos y diseños de cuencos, para que sepas bien cuales descartar y cuales elegir. Su procedencia: Los verdaderos Cuencos Tibetanos están hechos de forma artesanal. Su fabricación requiere mucha dedicación y diversos cuidados en todo el proceso. Lo mejor es comprarlo a alguien que sé dedique plenamente a este arte, en lugar de a un comercio gigante, como Amazon o Ali Express. Donde no es posible conocer al artista detrás de la obra y que ofrecen productos a muy bajo costo y de muy baja calidad. No te dejes tentar por los precios excesivamente bajos, los Cuencos Tibetanos están hechos de metales caros, como el bronce, el cobre y/o la plata. Por lo tanto, el precio de un Cuenco siempre es directamente proporcional a la calidad del mismo. ​ Te invitamos a conocer más de cerca nuestro trabajo, puedes seguirnos día a día en nuestro perfil de Instagram , donde subimos contenido interesante como esta nota, para ti. Los 7 metales: Probablemente hayas escuchado varias veces el mito de los 7 metales. Cuenta que un buen cuenco necesita estar compuesto por 7 metales para sonar correctamente o tener ciertas propiedades curativas. Si bien en la teoría este mito es muy atractivo, está totalmente infundado. Los metales que indica cómo necesarios son el Oro, la Plata, el Cobre, el Mercurio, el Estaño, el Hierro y el Plomo. Pudiendo variar entre relato y relato. Este mito se diluye fácilmente si reparamos en que no todos estos metales pueden mezclarse entre si, no es posible alearlos establemente. De la misma forma que el agua y el aceite, el hierro y el mercurio simplemente no se mezclan. Además algunos de estos metales son tan tóxicos, que el simple hecho de tocarlos puede generar daños en tu piel y salud a largo plazo, como el mercurio y el plomo (neurotoxicos). Son metales que realmente no querrías tener en tu cuenco. Y por suerte, nunca lo están. ​ Te recomendamos que, si encuentras un cuenco que dice contener 7 metales, solicites con este, una certificación del contenido. De esta forma podrás saber cuantos gramos de Oro o Plata lo forman, o si contiene metales que son perjudiciales para tu salud. O más simple aún: Toma distancia de quién intente venderte cuencos "hechos de 7 metales". Porque es el mayor indicio de que trata de venderte un producto a como dé lugar, sin hacerse responsable de su discurso o las consecuencias . ​ La gran mayoría, y los mejores Cuencos Tibetanos están hechos de cobre, estaño, zinc, y/o Niquel, combinados en distintas proporciones. Son los metales que encontrarás en los mejores cuencos Nepaleses de antaño. Fuera de eso, realmente no necesitas gastar tanto en un cuenco que contenga apenas unos gramos de oro o plata. Conoce más detalles y lee más sobre este mito aquí ​ Cómo fue hecho: ​ Existen diversos métodos para fabricar un Cuenco Tibetano, algunos más favorables que otros. Los más usados son: el repujado, el martillado, el estampado, y la fundición. Este ultimo, es el que menor calidad produce y el que más debemos evitar. Lo más importante es el resultado, un excelente método de fabricación mal aplicado, puede producir un cuenco de muy baja calidad. Existe la tendencia a creer que los cuencos martillados son los mejores, pero esto siempre dependerá de la experiencia de quien lo fabrica. En base a nuestros 12 años de experiencia, y conocimiento, nuestro método de fabricación favorito es el repujado. Ya que permite un mayor control sobre el balance entre los sonidos contenidos dentro del cuenco. Preguntale siempre al fabricante qué metodo de elaboración utiliza y por qué. Tratar de descubrir que método se empleó para fabricar el cuenco que tenemos en nuestras manos puede ser de mucha ayuda, pero requiere conocer muchos detalles. Por eso en nuestro curso online te los contamos todos, para que puedas hacer la elección correcta. Vemos paso a paso cada método y técnica de fabricación, comparando sus ventajas y desventajas. La baqueta ​ Existen muchas formas y tamaños de baquetas, pero, ¿Cuál es la correcta? Los 3 tipos de baquetas más comunes son: Baqueta de madera sin recubrir, baqueta recubierta con cuero gamuzado, mazo. ​ Siempre debes evitar el primer tipo de baqueta, ya que al no estar recubierta, generará un sonido muy rasposo, agudo, estridente y metálico. Un sonido con el cual nunca podrás relajarte. Los cuencos de más baja calidad son casi siempre vendidos con este tipo de baqueta. La segunda es la más apropiada, no importa mucho la forma ni el material que conforme el cuerpo de la misma. Pero sí que la parte que estará en contacto con el cuenco, esté recubierta con al menos una capa de cuero gamuzado o goma. A fin de evitar que se produzcan sonidos estridentes, estos materiales generarán la fricción necesaria para que el cuenco suene. Toma la baqueta en tu mano y asegurate de que se sienta cómoda, que no sea demasiado pesada ni muy ligera. ​ El tercer tipo de baqueta, los mazos, son utilizados para percutir cuencos muy grandes. De 30cm en adelante, son baquetas pesadas que buscan estimular los sonidos más graves de los cuencos. No se utilizan nunca para frotarlos, solo percutirlos, y no deben ser usados en cuencos pequeños. Cuenco Tibetano Sattva 18cm El sonido: Y por ultimo el punto más importante. Si bien los 6 anteriores también lo son, no dejes que te distraigan demasiado. Un buen cuenco es el que suena bien. Puede estar hecho con los mejores metales o con el mejor método que la experiencia pueda proveer. Pero sí suena mal, no es un buen cuenco. Lo más importante, en nuestra opinión y experiencia terapéutica, es que el cuenco refleje en su sonido, todo el amor que un artesano pone en su trabajo. En la dedicación a cada detalle y parte del proceso de elaboración, la energía que pone en su trabajo, y el conocimiento que sus años de experiencia han nutrido. Estos factores resultan en un indiscutible y maravilloso sonido que puedes percibir con facilidad. ​ Un cuenco que suene hermoso, podrá producir estados de igual belleza. Un cuenco que suene estridente o poco armonioso, difícilmente logrará si quiera relajarte. ​ En nuestro curso online analizamos los diferentes sonidos de los cuencos y como reconocer un cuenco bien afinado. Que tenga una buena cantidad de armónicos y un buen balance entre los mismos. Para que puedas encontrar en ellos, el mejor resultado para tu trabajo. Cuenco Tibetano Sattva 18cm 1.- Its origin: We tend to admire things that come from abroad, especially from the East. They usually tell us that the best bowls are made in the India, sometimes this may be true but most of the time, sadly it is not. Today bowls are made in many parts of the world in addition to the East, such as the United States, Germany and Argentina. Countries where it has been achieved the best quality level for these instruments, combining ancient techniques with modern methods. At present, India and Nepal are no longer the center of activity, distorted by tourism and trade, there are few manufacturers that achieve instruments of remarkable sound. ​ 2.- The manufacturing method: This is the point where the paths and the stories are most diversified. There are as many ways to make a bowl as there are ways to think. Some better than others, some very undesirable. Among the best techniques, in no order of priority, are hammering, artisan embossing and stamping. Among the not very good, there are the smelting method and other industrialized methods. Here we will tell you a little about each one: ​ + Hammering : Although it is the oldest technique and one of the best, this does not always ensure the quality of a bowl. From the beginning, this was the preferred method of manufacturers, it was practically the only way that existed to make a bowl back then. Today it is still the method of choice for some manufacturers but it is difficult to find who elaborate and fine-tune them in the right way. It is very common to find bowls hammered with a lot of passion, but with a very poor degree of tuning. It is a technique that requires a lot of knowledge and years of experience, which very few manufacturers in the world really master. ​ + Embossing : If the term is strange to you, it is a very similar method to the one used to make pots from ceramics. In which the piece is rotated at a certain speed, and is formed with the contact of the hands, or tool in our case. The greatest advantage of this method is homogeneity. This means that all parts of the bowl have the same level of tension and hardness, which represents a much higher degree of tuning and harmony in the sound of the bowl. This is the most difficult point to achieve in the hammering technique, as each blow adds a great deal of uneven stress. A very experienced manufacturer should be able to pull it off, but this is rarely the case. The best way to recognize it is to listen to a harmonious relationship between all the sounds the bowl makes. In simple terms, if the bowl sounds beautiful, it was well crafted. If it sounds weird, it wasn't. Embossing can be done in an artisanal or industrial way, the biggest disadvantage that this method can present is on an aesthetic level. Since when the bowl is made in an industrial way, the machine leaves circumscribed marks on the bowl, similar to those of drum cymbals. If the bowl is made correctly and by hand, you will not find any brand, but if the most wonderful sound. ​ + Stamping : It is one of the most modern techniques that exists, commonly used to make parts of cars, pots, lamps, among others. Yes the method is well used, it allows to achieve a very good level of sound quality. It should be noted that it is a 100% industrialized method. If the result is what counts for you, and not the medium, this shouldn't matter much to you. But if what you are looking for is a handmade instrument, made with love and dedication by the hands of a being, this method will not be your favorite. ​ + Casting : From any point of view, this is the least desirable brewing method for making a bowl. Since it obtains the poorest results in terms of quality, resonance, vibration, volume, weight, finish, etc. They are easily recognizable by their rough interior, similar to the plaster of a wall before being painted. In the case of imported bowls, this method can be combined with a very striking drawing, in an attempt to touch the Buddhist culture. This method is used by those looking for a fast production or voluminous, and usually fulfill the function of adornment rather than a musical or therapeutic instrument. They are very heavy bowls, very sharp and low in noise. ​ 3.- The metals that compose it: The most controversial and wonderful point at the same time. The alchemy of the instrument is perhaps the most magical part in the gestation of a new bowl. It is important to know how to discern what is useful from what is not. But above all, what is true of what is false. If you are so fascinated by the number 7 Like us, who name this note as the "7 tips to choose a bowl", you have probably also fallen in love with the myth of the 7 metals. This story tells that a good bowl needs to be composed of 7 metals to be good, although in theory this myth is beautiful, it is totally unfounded. These metals would be Gold, Silver, Copper, Mercury, Tin, Iron and Lead. At the beginning, this myth collapses when it is found that not all these metals are "alloyable", that is, they cannot be mixed with each other. Like Mercury and Gold. Or that some of these are so toxic that the simple fact of coming into contact with them generates a very high level of toxicity in your skin, such as Lead and Mercury. They are metals that you really don't want to have in your bowl. There are manufacturers that to resonate with the myth, they devised their own mixture of metals, which has little to do with its proposal, but they comply with the label "Bowl of 7 Metals". Thus They take the opportunity to close some sales. Multiple studies have shown that numerous adhesion of metals does not represent a beneficial or necessary factor for the quality of the bowl. We recommend that, if you find a bowl that claims to contain 7 metals, you apply with it for a content certification. In this way you will be able to know what percentage of Gold or Silver it contains, or if it contains metals that can be harmful to your health in the long term. If you don't receive a certification with your bowl, don't worry! You can use the metallographic microscope that, all we have at home? ​ Studies have shown that the best metals to achieve an excellent bowl are: Copper, Zinc, Tin, and Nickel, combined in different ways or alloys. They are the metals that you will find in the best Nepalese bowls of yesteryear. Outside of that, you really don't need to spend a fortune on a bowl containing particles of Gold. ​ 4.- The intention of the person who sells it: This is where our intuition comes into play, knowing how to read to those who offer us the bowl. To be able to identify if we have an avid importer in front of us, willing to tell us any story to make a sale. Or we find ourselves in the presence of a craftsman, who bathes his instruments in passion and love for what he does. ​ 5.- The design: It is of course a beautiful and important part of our bowl, but it should never be prioritized over any of the other 6 factors. The most beautiful and eye-catching bowls, They tend to focus their potential on this aspect, completely neglecting the truly important ones. Although the finish should reflect the degree of dedication that your manager gave you, the best bowls tend to have a rather rustic design, rather than overly thought out. ​ 6.- The size: This point depends mainly on the purpose that the bowl will have in your life. If you are looking for it to connect with sound through meditation, to accompany and complement a Reiki session, or for vibrational therapeutic work, such as bowl massages. Contrary to what is said, it is not necessary to have a bowl for each chakra. You can start with a single bowl, which will be the gateway to this extensive path. If you are looking for it to meditate or to complement a Reiki session, the choice is for the smaller or sharp bowls. These have more capacity to generate volume and to be heard at a medium distance. On the other hand, if you are dabbling in physical work What sound massages, large and lower bowls will be the ideal tool. The larger ones generate low frequencies and bass tones, these have more capacity to relax the muscles and tissues of the body than the sharp or small bowls. Also consider the following factors: ​ - Bass sounds are projected downward, and spread more easily within the body, through the bones. This factor is the most useful and ideal for work on a stretcher. ​ - High-pitched sounds are projected upward, and flow more easily at the ether level. Its waves spread through the air and reach your ears or those of those who listen to you more easily. The physical body is less able to perceive these sounds. ​ - Treble bowls for high chakras, Bass bowls for low chakras. Although we can get lost for hours in all the theories that relate each sound or note to each chakra, an infallible trick is to use high-pitched bowls for the high chakras and low for the low ones. It is very complex and inaccurate affirm that your laryngian chakra vibrates at the same frequency as that of the writer, and at same time as certain Tibetan Tale. If we consider that we will rarely be able to find a bowl of any kind, perfectly tuned to a musical note, this parameter becomes very difficult to apply and impractical. However, it is easy notice how Bass bowls positively affect the body, from the balls of the feet to the solar plexus. And how the middle and high bowls subtly caress the chakras from the plexus to the crown. ​ 7.- The sound: While the 6 Above points are super important, don't let them distract you too much. A good bowl is one that sounds good! It can be made of the best metals or with the best method the industry can provide, but if it sounds bad, it's not a good bowl. The most important thing, in our opinion and therapeutic experience, is that the bowl reflects in its sound, all the love that an artisan puts into his work, in the dedication to every detail and part of the elaboration process, the energy that he puts into his work. work, and the knowledge that his years of experience have nurtured. These factors result in an indisputable and wonderful sound that you can easily perceive. ​ If you liked this short guide, You want to know more about the Tibetan Bowls and deepen these concepts, we invite you to participate in the Next Intensive Seminar on Tibetan Bowls , in Saavedra. ​ + About us : We are creators and manufacturers of various instruments for music therapy, such as Gongs, Tibetan Bowls, Sattva Drum, Handpans, among others. We dedicate our energy to its study and development for more than 7 years, using a specific technique for each instrument and thus achieve the best possible quality, above all else. + Acerca de Nosotros : Somos creadores y fabricantes de diversos instrumentos para musicoterapia, como Gongs, Cuencos Tibetanos, Sattva Drum, Handpans, entre otros. Dedicamos nuestra energía a su estudio y desarrollo desde hace más de 12 años, usando una técnica especifica para cada instrumento y así lograr la mejor calidad posible, sobre todas las cosas. Meet our Bowls See what happens when you put a Sattva bowl on water

Inicio > Instrumentos > Tienda > Cuencos > Tibetan Bowl Sattva 10cm Compralo desde Argentina aquí COMPRAR Shipment free by DHL in just 5 days ! Seguir esta oferta ¿No sabes qué tamaño elegir? Lee esta nota , donde encontrarás todo lo que necesitas saber sobre este aspecto. Other instruments that may interest you COMPLETE SET OF TIBETAN BOWLS BASIC SET OF TIBETAN BOWLS Sattva drum

7 tips to choose a good Tibetan bowl Si ya tienes un cuenco Tibetano y quieres saber cómo cuidarlo, limpiarlo y protegerlo, esta nota es para ti! ​ Cómo Cuidarlo ​ Lo primero que debes saber es que el mayor enemigo de un Cuenco Tibetano es la humedad. Tanto del ambiente, como de nuestras manos y nuestra saliva. Ten en cuenta que el principal metal que compone la aleación de un cuenco es el cobre. Este metal tiende a oxidarse cuando se ve expuesto a la humedad, de la misma forma que lo hacen los monumentos en las plazas y las campanas en los templos, cuando son de cobre. ​ Por suerte, es un tipo de oxido que solo mancha el metal y no lo corroe, a diferencia del oxido de hierro, que deshace el metal. Así que si tu cuenco se puso verde (se oxido), todavía puedes restaurarlo y dejarlo como nuevo! ​ ​ Cómo Protegerlo ​ La exposición a la humedad del ambiente y el sudor de nuestras manos pueden ser suficiente para que tu cuenco empiece a oxidarse. Si sueles cantar o hablar mientras tocas tu cuenco, es probable que encuentres pequeños puntos verdes en el fondo e interior de tu cuenco. ​ Pero no te preocupes, basta con humectar la superficie de tu cuenco con aceite de coco para protegerlo. Solo debes rociar algunas gotas en su interior y exterior, y expandirlo por toda su superficie con un paño seco. Una vez cubierto en aceite, déjalo reposar boca abajo por algunas horas para que el metal absorba bien el aceite. Lo siguiente que debes hacer es secarlo perfectamente con una servilleta para eliminar el exceso de aceite que pudiera quedar. La baqueta de cuero nunca debe mojarse con aceite, ya que podría dañarse. ​ Si colocas agua dentro de un cuenco para ver los efectos que se producen, asegurate de secarlo muy bien cuando termines el experimento. 1/3 1/1 ​ Cómo restaurarlo Lo ideal es que protejas siempre tu cuenco como te contamos antes, para que no tengas que llegar a este punto. Puedes repetir este proceso una vez por mes, o cada vez que que la superficie de tu cuenco se vea seca o sin brillo. Pero si tu cuenco ya se oxidó, puedes proceder de diferentes maneras, dependiendo del color de tu cuenco: ​ - Cuencos dorados: Consigue cualquier lustrametales y una esponja metálica muy fina. Aplica unas gotas sobre las manchas y frota con la esponja hasta que desaparezcan. Luego frota la totalidad del cuenco para obtener un acabado parejo. Para terminar, aplica unas gotas más sobre la superficie y lustra fuertemente con una franela. NO TEMAS! Los lustrametales actúan solo químicamente, no dañaran tu cuenco ni lo desafinarán (cómo cuentan algunos mitos). ​ ​ ​ ​ Cuencos Negros Cuencos Negros: Este tipo de cuencos, cómo es el caso de los cuencos Sattva , cuentan con una película protectora que ayuda a reducir las posibilidades de oxidación. Sin embargo, si la exposición a la humedad ha sido muy prolongada, también pueden llegar a oxidarse. Lo primero que debes probar es limpiarlos con aceite de coco, frota suavemente las manchas que tenga, con un paño y algunas gotas de aceite. Si las manchas son superficiales y tienen poco tiempo, saldrán fácilmente. Si son profundas y llevan mucho tiempo ahí, difícilmente podrás eliminarlas. ​ Si son solo un par de manchas pequeñas las que no salen, te sugerimos dejarlo así. Pero si tú cuenco tiene muchos años y está muy manchado, puedes aplicar un poco de lustrametales y frotarlo fuertemente hasta que todo el cuenco quede dorado. Será bastante trabajoso pero tu cuenco quedará impecable y con un aspecto totalmente nuevo. 1/1 ​ Otros daños ​ Cabe mencionar que otra forma, tal vez muy obvia, de dañar tu cuenco, es golpeandolo. Por lo cual nunca debes permitir que este caiga al piso ni debes golpearlo demasiado fuerte con la baqueta. ​ Cuando se fabrica un cuenco, se regulan diferentes tensiones internas en el metal. Que forman una estructura muy delicada, esta puede verse dañada por impactos demasiado fuertes. Procura que nunca caiga al piso, si esto ocurre y sientes que cambia su sonido, lo más apropiado sería que recurras al fabricante para que trate de ponerlo a punto nuevamente. 1.- Its origin: We tend to admire things that come from abroad, especially from the East. They usually tell us that the best bowls are made in the India, sometimes this may be true but most of the time, sadly it is not. Today bowls are made in many parts of the world in addition to the East, such as the United States, Germany and Argentina. Countries where it has been achieved the best quality level for these instruments, combining ancient techniques with modern methods. At present, India and Nepal are no longer the center of activity, distorted by tourism and trade, there are few manufacturers that achieve instruments of remarkable sound. ​ 2.- The manufacturing method: This is the point where the paths and the stories are most diversified. There are as many ways to make a bowl as there are ways to think. Some better than others, some very undesirable. Among the best techniques, in no order of priority, are hammering, artisan embossing and stamping. Among the not very good, there are the smelting method and other industrialized methods. Here we will tell you a little about each one: ​ + Hammering : Although it is the oldest technique and one of the best, this does not always ensure the quality of a bowl. From the beginning, this was the preferred method of manufacturers, it was practically the only way that existed to make a bowl back then. Today it is still the method of choice for some manufacturers but it is difficult to find who elaborate and fine-tune them in the right way. It is very common to find bowls hammered with a lot of passion, but with a very poor degree of tuning. It is a technique that requires a lot of knowledge and years of experience, which very few manufacturers in the world really master. ​ + Embossing : If the term is strange to you, it is a very similar method to the one used to make pots from ceramics. In which the piece is rotated at a certain speed, and is formed with the contact of the hands, or tool in our case. The greatest advantage of this method is homogeneity. This means that all parts of the bowl have the same level of tension and hardness, which represents a much higher degree of tuning and harmony in the sound of the bowl. This is the most difficult point to achieve in the hammering technique, as each blow adds a great deal of uneven stress. A very experienced manufacturer should be able to pull it off, but this is rarely the case. The best way to recognize it is to listen to a harmonious relationship between all the sounds the bowl makes. In simple terms, if the bowl sounds beautiful, it was well crafted. If it sounds weird, it wasn't. Embossing can be done in an artisanal or industrial way, the biggest disadvantage that this method can present is on an aesthetic level. Since when the bowl is made in an industrial way, the machine leaves circumscribed marks on the bowl, similar to those of drum cymbals. If the bowl is made correctly and by hand, you will not find any brand, but if the most wonderful sound. ​ + Stamping : It is one of the most modern techniques that exists, commonly used to make parts of cars, pots, lamps, among others. Yes the method is well used, it allows to achieve a very good level of sound quality. It should be noted that it is a 100% industrialized method. If the result is what counts for you, and not the medium, this shouldn't matter much to you. But if what you are looking for is a handmade instrument, made with love and dedication by the hands of a being, this method will not be your favorite. ​ + Casting : From any point of view, this is the least desirable brewing method for making a bowl. Since it obtains the poorest results in terms of quality, resonance, vibration, volume, weight, finish, etc. They are easily recognizable by their rough interior, similar to the plaster of a wall before being painted. In the case of imported bowls, this method can be combined with a very striking drawing, in an attempt to touch the Buddhist culture. This method is used by those looking for a fast production or voluminous, and usually fulfill the function of adornment rather than a musical or therapeutic instrument. They are very heavy bowls, very sharp and low in noise. ​ 3.- The metals that compose it: The most controversial and wonderful point at the same time. The alchemy of the instrument is perhaps the most magical part in the gestation of a new bowl. It is important to know how to discern what is useful from what is not. But above all, what is true of what is false. If you are so fascinated by the number 7 Like us, who name this note as the "7 tips to choose a bowl", you have probably also fallen in love with the myth of the 7 metals. This story tells that a good bowl needs to be composed of 7 metals to be good, although in theory this myth is beautiful, it is totally unfounded. These metals would be Gold, Silver, Copper, Mercury, Tin, Iron and Lead. At the beginning, this myth collapses when it is found that not all these metals are "alloyable", that is, they cannot be mixed with each other. Like Mercury and Gold. Or that some of these are so toxic that the simple fact of coming into contact with them generates a very high level of toxicity in your skin, such as Lead and Mercury. They are metals that you really don't want to have in your bowl. There are manufacturers that to resonate with the myth, they devised their own mixture of metals, which has little to do with its proposal, but they comply with the label "Bowl of 7 Metals". Thus They take the opportunity to close some sales. Multiple studies have shown that numerous adhesion of metals does not represent a beneficial or necessary factor for the quality of the bowl. We recommend that, if you find a bowl that claims to contain 7 metals, you apply with it for a content certification. In this way you will be able to know what percentage of Gold or Silver it contains, or if it contains metals that can be harmful to your health in the long term. If you don't receive a certification with your bowl, don't worry! You can use the metallographic microscope that, all we have at home? ​ Studies have shown that the best metals to achieve an excellent bowl are: Copper, Zinc, Tin, and Nickel, combined in different ways or alloys. They are the metals that you will find in the best Nepalese bowls of yesteryear. Outside of that, you really don't need to spend a fortune on a bowl containing particles of Gold. ​ 4.- The intention of the person who sells it: This is where our intuition comes into play, knowing how to read to those who offer us the bowl. To be able to identify if we have an avid importer in front of us, willing to tell us any story to make a sale. Or we find ourselves in the presence of a craftsman, who bathes his instruments in passion and love for what he does. ​ 5.- The design: It is of course a beautiful and important part of our bowl, but it should never be prioritized over any of the other 6 factors. The most beautiful and eye-catching bowls, They tend to focus their potential on this aspect, completely neglecting the truly important ones. Although the finish should reflect the degree of dedication that your manager gave you, the best bowls tend to have a rather rustic design, rather than overly thought out. ​ 6.- The size: This point depends mainly on the purpose that the bowl will have in your life. If you are looking for it to connect with sound through meditation, to accompany and complement a Reiki session, or for vibrational therapeutic work, such as bowl massages. Contrary to what is said, it is not necessary to have a bowl for each chakra. You can start with a single bowl, which will be the gateway to this extensive path. If you are looking for it to meditate or to complement a Reiki session, the choice is for the smaller or sharp bowls. These have more capacity to generate volume and to be heard at a medium distance. On the other hand, if you are dabbling in physical work What sound massages, large and lower bowls will be the ideal tool. The larger ones generate low frequencies and bass tones, these have more capacity to relax the muscles and tissues of the body than the sharp or small bowls. Also consider the following factors: ​ - Bass sounds are projected downward, and spread more easily within the body, through the bones. This factor is the most useful and ideal for work on a stretcher. ​ - High-pitched sounds are projected upward, and flow more easily at the ether level. Its waves spread through the air and reach your ears or those of those who listen to you more easily. The physical body is less able to perceive these sounds. ​ - Treble bowls for high chakras, Bass bowls for low chakras. Although we can get lost for hours in all the theories that relate each sound or note to each chakra, an infallible trick is to use high-pitched bowls for the high chakras and low for the low ones. It is very complex and inaccurate affirm that your laryngian chakra vibrates at the same frequency as that of the writer, and at same time as certain Tibetan Tale. If we consider that we will rarely be able to find a bowl of any kind, perfectly tuned to a musical note, this parameter becomes very difficult to apply and impractical. However, it is easy notice how Bass bowls positively affect the body, from the balls of the feet to the solar plexus. And how the middle and high bowls subtly caress the chakras from the plexus to the crown. ​ 7.- The sound: While the 6 Above points are super important, don't let them distract you too much. A good bowl is one that sounds good! It can be made of the best metals or with the best method the industry can provide, but if it sounds bad, it's not a good bowl. The most important thing, in our opinion and therapeutic experience, is that the bowl reflects in its sound, all the love that an artisan puts into his work, in the dedication to every detail and part of the elaboration process, the energy that he puts into his work. work, and the knowledge that his years of experience have nurtured. These factors result in an indisputable and wonderful sound that you can easily perceive. ​ If you liked this short guide, You want to know more about the Tibetan Bowls and deepen these concepts, we invite you to participate in the Next Intensive Seminar on Tibetan Bowls , in Saavedra. ​ + About us : We are creators and manufacturers of various instruments for music therapy, such as Gongs, Tibetan Bowls, Sattva Drum, Handpans, among others. We dedicate our energy to its study and development for more than 7 years, using a specific technique for each instrument and thus achieve the best possible quality, above all else. Conoce nuestros Cuencos Mira lo que pasa cuando pones un Cuenco Sattva sobre el agua

click on the bowl to see the price Recibe una clase gratis, con la compra de cualquier Cuenco o set de Cuencos Sattva agotado Set Completo 10+13+15+18+23cm agotado Set Terapeutico 15+18+23cm ​último en stock Set Basico 10+13+15cm agotado Cuenco 23cm agotado Cuenco 18cm agotado Cuenco 15cm agotado Cuenco 13cm ​últimos en stock Cuenco 10cm ¿No sabes qué tamaño elegir? Lee esta nota , donde encontrarás todo lo que necesitas saber sobre este aspecto. También puedes contactarnos aquí , estámos listos para asesorarte.