Okinme is a Dutch health tech startup dedicated to sound technology that instantly guides listeners into focused states for deep work, relaxation, and mental clarity.
Our unique sound technology combines six scientifically proven audio methods. Each soundtrack we create features complex, tailored audio patterns and multilayered signals. Our proprietary technology blends and sequences specific sounds that resonate with the listener's brainwaves, effortlessly guiding them instantly into desired states of Focus, Relaxation (or sleep), anytime, anywhere.
Listening to our soundtracks enhances sharpness, creativity, and calm, boosting productivity and mental clarity.
What sets Okinme apart is our expertise in audio sound patterns that immediately influence specific brain states. We also prioritize continuous innovation, collaborating with leading medical institutions and universities to validate and improve our SoundTech, ensuring its effectiveness for our clients.
One of the main techniques used in our audio files are binaural beats (BBs), which aim to stimulatedifferent brainwaves in order to induce various states of consciousness in a human being; for example,sleep, wakefulness, meditation, or concentration. A BB is the illusion that is perceived whenpresenting two tones with different frequencies to the right and left ear through stereo headphones,resulting in the perception of the frequency which is the difference between the two tones (Oster,1973).
The resultant BBs are known to have an effect on the state of consciousness and they have apositive effect on people suffering from anxiety and tension (Forster et al., 2014). Several studieshave provided scientific evidence to support the notion that BBs can guide a person into a meditativestate (Gupta et al., 2016; Perales et al., 2019; Rishika et al., 2021). Binaural beats form anindispensable element in all of our audio productions.
The term frequency following response (FFR) describes the tendency for brainwaves to be affectedand synchronised by an external auditory source. For example, if a generated frequency of 98 Hz isproduced on the left channel, and a second generated frequency of 102 Hz is produced on the rightchannel of the stereo image, a binaural beat of 4 Hz results and according to the FFR the listenersbrainwaves follow this stimuli.
Other FFR techniques that are used to induce different brainwavesare the pulse technique, which uses music volume modulations at a certain frequency; cross-feedmodulation, which feeds stereo sound between the right and left sides at a certain frequency; lowpassfilter modulation, which removes high frequencies of the audio at a certain frequency; orpanorama modulation, which increases or decreases the volume of the left side, right side, or bothsides. Another method of inducing sleep includes the production of an audible or tactual signal whichfollows the rhythm of a heartbeat or respiration.
According to Pizer (1981), the produced audiblesignal includes pitch and dynamic variations “at a rate somewhat slower than either the rate of theheartbeat or the rate of respiration.” From this follows that the heartbeat and respiration synchronisewith the generated audio signal; consequently, the signal slows down the heartbeat and respirationrate and initiates various levels of sleep.
One particular type of the binaural beat technique, used in our original audio productions, is theelectroencephalography (EEG) wave synthesis audio technique, which is utilised in the transition toawakening. In our tracks, the EEG technique mostly occurs at the end of the music file and is formedthrough ‘clusters’ of various tones and frequencies. In 1973, Rob Monroe was the first to describethe theory of stimulating EEG wave synthesis through the use of sound carrier waves.
He states that“in EEG wave synthesis, as many as 100 separate carrier pairs may be used or a single broadbandedcarrier pair may be used to generate a similar number of specific binaural beats that replicate the EEGwaveforms in both frequency and amplitude. [..] Using sampled EEG waveforms from a subject inspecific states of consciousness and activity, mental and/or physical, these waveforms are impressedupon multiple sets of sound carrier waves within the human spectrum of hearing” (Monroe, 1973).
EEG, FFR, and binaural beats techniques are accompanied by the use of noise sweeps and pink noisesounds to ensure a sense of security and relaxation. Monroes method inspired us to use and generate3various types of noises in our music tracks, which contain the combination of “pink sound with setsof carter waves by shifting of pink sound with respect to combined EEG waveform from one stereoaudio channel to another, with cyclic changes in amplitude, frequency, and rate of panning” (Monroe,1994).
The produced waveforms are comparable to the sound of sea waves; therefore, they tend tostimulate the feeling of ease and relaxation. Moreover, static and repetitive frequency signals, whichare buried cyclically with respect to amplitude, and repetitive sounds derived from nature (such asraindrops, wind sounds, or birdsongs) promote a sense of stability and familiarity. Thus, our originalaudio productions make use of pleasing natural sounds, harmonious frequencies, and calmingvibrations in order to ensure a sense of security and relaxation.
We also use novel 3D audio coding techniques to achieve the highest attainable effect on the listenersspatial experience. 3D audio aims to make the listening experience more immersive and realistic, andit is designed to generate sounds and music elements coming from various spatial directions and notsolely from the left or right channel, which: “frequently involves the virtual placement of soundsources anywhere in three-dimensional space, including behind, above or below the listener”(Howard & Angus, 2017).
The 3D audio technique further aids the listener to better settle into acertain state of consciousness. For example, 3D audio supports the imagination of creating an‘Original Energy Sphere’ (ORES), by simulating the appearance of the ORES through threedimensional moving sound effects.
Original composed music, musical elements, and instrumentation form an indispensable audible layerin our audio productions. The musical elements are produced and altered in such a way that they tendto synchronise to a desired state of consciousness. For example, in order to lead the listener into astate of relaxation, the tempo slows down, the dynamics are softened, and the instrumentation issimplified.
On the other hand, the listener will be guided into the transition of awakening byincreasing the tempo and dynamics, as well as using multiple different instruments.The instrumentation includes the use various types of excitation instantaneous instrumentssuch as (soft) pianos, harps, gamelan, and soft played synthesis sounds. Various studies have shownthat the use of ancient excitation instantaneous instruments within cyclical repetitive melodic phrasesor rhythmic ideas invites the listener to “remain in the moment, and the music begins to serve as avehicle for contemplation and meditation” (Wappel, 2016).
Moreover, our original composed music4also masks extraneous (pink) noise and noise sweeps; provides continuity between the transition ofdifferent focus levels; and directs the listener’s attention to important features through structural orassociationist congruence (Juslin & Sloboda, 2013). Our music also induces emotions, communicatesthe meaning of different focus levels, and supports the voice-overs narrative.In summary, our audio productions use state-of-the-art music and audio technology such asBBs, FFR, pulse techniques, EEG wave synthesis audio techniques, noise methods, 3D audio codingtechniques, and original composed music to support mental health and wellbeing.
Forster, J., Bader, L., Heßler, S., Roesler, O., & Suendermann, D. (2014). A First Step TowardsBinaural Beat Classification Using Multiple EEG Devices.
Gupta, A., Ramdinmawii, E., & Mittal, V. K. (2016). Significance of alpha brainwaves in meditationexamined from the study of binaural beats. 2016 International Conference on SignalProcessing and Communication, ICSC 2016, 484–489.
Howard, D., & Angus, J. (2017). Acoustics and Psychoacoustics (5th ed.). Taylor and Francis.
Juslin, P. N., & Sloboda, J. A. (2013). 15 - Music and Emotion. In D. Deutsch (Ed)., ThePsychology of Music (3rd ed., pp. 583-645). Academic Press.
Monroe, R. A. (1973). Method of inducing mental, emotional and physical states of consciousness,including specific mental activity, in human beings. U.S. Patent No. 5,213,562. InterstateIndustries Inc. (Faber, VA).
Monroe, R. A. (1994). Method of and apparatus for inducing desired states of consciousness. U.S.Patent No. 5,356,368. Interstate Industries Inc. (Faber, VA).Oster, G. (1973). Auditory beats in the brain. Scientific American, 229(4), 94–102.
Perales, F.J., Riera, L., & Ramis, S. (2019). Evaluation of a VR system for Pain Management usingbinaural acoustic stimulation. Multimedia Tools & Applications 78, 32869–32890.
Pizer, R. S. (1981). Method and apparatus for inducing a pre-hypnotic state. U.S. Patent No.4,282,864. 4007 Connecticut Ave. N. W., Washington, D.C. 20008. Patent and TrademarkOffice.
Rishika, R., Gupta, A., Sinha, S., & Reka, S.S. (2021). Sleep Pattern Study with Respect to BinauralBeats Using Sensors and Mobile Application. Wireless Personal Communication, 119, 941-957.
Wappel, J. (2016). Gamelan and the modern pedal harp of the west: A performer’s perspective onhybridised musical influences in the harp chamber works of Bill Alves, Lou Harrison, andAlan Hovhaness. Ball State University.
