Sound you can actually use in your practice

One · What it is

The professional side of something that already exists

Mindspace is a sound wellbeing platform created by composer Rob Hulford: original ambient music, nature soundscapes, binaural beats, solfeggio frequencies and sound healing experiences.

Mindspace Professional is that platform turned towards the consulting room. Same music, same composer, different problem: not listening to sound, but working with it.

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The distinction matters more than it sounds. A listener presses play. A practitioner has to hold a room for ninety minutes, hand a client something to take home, put music under their own voice, and account for where that music came from.

None of that is a listening problem, and none of it is solved by a bigger catalogue.

Two · Why

What you cannot do with the music you already pay for

Most practitioners arrive using a consumer streaming service. It works, right up to the point where the work begins.

• You cannot put it in a recording. A consumer subscription is a licence to listen, not a licence to include the music in something you give or sell to a client.
• You cannot change it. No levels, no fades, no shaping it to the session in front of you.
• You cannot add a beat, binaural or otherwise.
• You cannot lay nature underneath it, or noise over the traffic outside.
• You cannot mix the stems, because you never had them: you have a finished track and nothing else.
• The timer is not where you need it. A sleep timer buried three screens deep is not a thing you reach for with a client in the chair.
• It stops when the playlist stops, which is usually before the session does.

There is also the question of whether playing recorded music in a business setting needs its own licence. That varies by country and by setting and is worth checking for yours — but it is one more thing, and it is not the reason any of us became practitioners.

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None of this is a criticism of those services. They were built for someone on a train, and they are very good at it. The mismatch is simply that the consulting room was never the thing being designed for.

The practical consequence is that the moment a practitioner wants to hand a client a recording with music under their own voice, the ordinary route stops being available at all. Not expensive. Not awkward. Unavailable.

Three · How it got here

It was built backwards, from the room

Nothing here started as a product plan. Each piece exists because a practitioner said something could not be done.

First the players learned to remember. Build a mix you like and it is yours: hearted, named, ordered into a playlist, and the same on every device you own.

Then came the journey player. A beat that begins near where a client is when they arrive, descends gradually across the session and holds where you work, running above your own playlist and continuing through every track change. We have looked, and we have not found another one of these anywhere.

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Binaural beats are widely searched and commonly associated in popular wellness culture with calm, focus and deep rest. We are careful not to claim more than that, and the guides say so plainly rather than quietly.

What we will claim is the engineering. The beat is scheduled on the audio clock rather than a timer, so a ninety minute descent stays exactly where it should be from start to finish, and it survives a track change, a screen lock and a lost connection.

Four · The plans

Two, and they are not the same product

Annual, £69 a year,is the whole thing. Every player, the royalty-free library, the licence that comes with it, the mixer bench and the Green Room.

Monthly, £6.99 a month,is deliberately narrower. It is for playing music in session and nothing else. It does not include the royalty-free library, and it does not include the Green Room.

The difference is not a discount. It is a different job. If you want to make recordings your clients keep, the annual plan is the one that permits it.

Five · The dashboard

One place, and everything is off it

• The side menu holds everything: the players, the Green Room, the royalty-free library and licensing.
• The knowledge base — the guides, written for practitioners rather than for listeners.
• The how-to guides — each player explained properly, with pictures rather than paragraphs.
• Your favourites, further down the dashboard, so the mixes you actually use are on the first screen you see.

Six · The players

Six ways in, depending on what the session needs

The orb players

Six stems you mix yourself, plus nature sounds, coloured noise and a beat. This is where a sound becomes yours rather than something you chose from a list.

My Mindspace

The central player. Your playlists, your saved mixes, a session length that ends the sound when the session ends, and everything available with no connection at all.

The binaural journey player

The descent, running above your own playlist. Five journeys plus your own, and a settle point you place wherever the working part of your session begins.

The longform soundscape player

For sessions that run long. Binaural beats, nature sounds and coloured noise can all be layered over it, but there is no stem mixer here — the music is a finished piece rather than six parts, and that is the point of it.

The bilateral player

Still to be described. This section is deliberately empty rather than guessed at, and will be written properly once the player is specified.

The singing bowl player

Coming later, and worth waiting for. Where every other player has an orb at its centre, this one has a single bowl, resonating — the sound and the image the same thing. The design comes nearer the time.

Seven · The library

Fifty hours of music you may actually use

Original longform music written for work that runs long: sessions, courses, recordings and podcasts. Every track plays as a one minute loop first, so you hear what something is before you commit a session to it.

Heart the ones you adopt. Star the ones you are considering for the session you are building now. Both lists come back every time you return.

Eight · Licensing

It arrives with the file, and you do nothing

Every mix you make comes with its own licence, issued in your name, naming the track and carrying a reference. You do not apply for it, wait for it or pay for it separately. You download the MP3, and the licence is the button next to it.

The reference is written into the audio file itself, so a recording found years later can always be traced back to the licence that covers it. Lose the PDF and it can be reissued.

The rules are short enough to read in a minute: use it under your own voice, publish it anywhere including YouTube, Vimeo and SoundCloud, do not monetise it, do not use the music bare, do not alter it. Work you publish stays licensed even if you stop subscribing.

Ten · The Green Room

Seven albums, and nothing asked of you

Everything above was built for the work you do with someone else in the room. The Green Room was not.

It is seven albums Rob wrote, about two and a half hours each, put there for the quarter of an hour between one client and the next. Nothing to set up, nothing to save, no session to manage. Press play and leave it.

It is included with the annual plan, and it is not for sale anywhere else on the platform. It is there as an offering, not as a feature.