KIRTAN BHAKTI LOVE FLOW · THE YOGA OF SOUND · SACRED PRACTICE
Come on in.
Where love flows out and returns in sound.
I’m Tony Jaynes. My studio is built around a living current of Kirtan Bhakti devotion—my love flowing out to the Universe, and the Universe sending love back to me through voice, strings, breath, and silence.
Here I use AI and my cloned Tonal Voice as a creative compass while I personally re-record all the vocals, acoustic and electric guitar parts, and Native American flute in a simpler, more intimate, and more beautiful format.
Learning the music, one part at a time.
Listening, repeating, and making the skill my own.
THE HEART OF THE PROCESS
I can hear it.
Now I want to play it.
A polished track can sound complete while my work as a player is still unfolding. I use its separate stems as a way into the music: isolate a part, listen, work out how it is played, and practice it slowly.
Hearing a version with my cloned voice gives me a familiar vocal reference. I explore the phrasing and style, then work with my own voice to learn what I can sing and how I want to sing it.
The same attention goes into guitar syncopations, chord positions, melodies, double stops, and inversions. The aim is to make those skills part of me, so I can perform the music live.
MY CREATIVE PROCESS
How I work
through a song.
The track is a starting point for learning. I move between these stages as a song develops, returning to whatever needs more listening, practice, or revision.
01 / DIRECTION
Start with the influences.
I bring the styles I love—especially kirtan and progressive rock—and the bands that inspire me into a conversation with AI. Together we explore the musical direction, themes, and instruments I want to hear.
02 / SONG DEVELOPMENT
Shape the song with AI.
I work with ChatGPT on lyrics, album themes, and prompts for Suno. I listen, revise, and develop versions until the songs feel polished enough to become a foundation for deeper work.
03 / THE LOGIC SESSION
Bring the parts into my studio.
I download the stems and load them into a custom Logic Pro template, already set up with the inputs I need for my instruments. The final mix becomes my control track alongside the separate stems. I use chord analysis of that mix to create a harmonic guide.
04 / CLOSE LISTENING
Solo. Loop. Work it out.
In Logic Pro, I solo the track I want to learn so the others are muted. I loop a passage and listen closely, working out its rhythm, notes, chord voicings, and where a part sits on the instrument. Then I practice it slowly.
05 / EMBODIMENT
Make the skill my own.
I return to the parts until the timing, phrasing, and movements become more familiar. Alongside that practice, I use self-dialogue to settle anxiety and return to the present moment—the place I want to perform from.
06 / THE NEXT VERSION
Build toward my own recordings.
As my playing develops, I work toward replacing stems with performances I record myself. If a part is beyond what I can play well today, it stays as a reference while I keep learning. A complete newly recorded version is the goal; I have not completed that album yet.
BEING HERE, WITH THE MUSIC
Learning to feel
at home in the music.
From the outside, it can look like an illusion: a finished-sounding song, familiar vocals, and parts I am still learning to play. The AI collaboration is part of the story. So is the patient, physical work that follows.
I’m building the confidence to stay present and perform. That means working through difficult passages, noticing my self-talk, and giving myself permission to learn at the pace the music asks for.
This is where that work happens—with my instruments, familiar surroundings, and a couple of four-legged listeners.
A working room, and a place to feel at home.
WHERE I AM NOW
The music I’m
working on now.
VIJÑĀNA BHAIRAVA & THE RADIANCE SUTRAS / LONG-TERM BHAKTI ALBUM
From the Upaniṣads’ interior turn to Kirtan Bhakti & Native American flute.
My primary long-term album project draws from the final parts of the Upaniṣads—where the teaching pivots from exterior ritual to the interior point of view—and flows into the 112 Kashmiri meditations of the Vijñāna Bhairava and Lorin Roche’s The Radiance Sutras.
Using the AI arrangements and stems as a guide, my long-term goal is to replace the stems with my own simpler, more beautiful recordings of voice, guitar, and Native American flute—welcoming community and shared heart along the way.
LINEAGE & TIMELINE / SOUND, BODYWORK, MIND & HEART
From Russill Paul’s Mystery School & 15 years of bodywork to Kabbalah & Kirtan.
When Russill Paul (author of The Yoga of Sound) held his mystery school right around the time his book came out—and in the year following—I studied Sanskrit and the mysteries of mantra with him. That same turning point led me into bodywork, and I worked as a massage therapist for 15 years, feeling firsthand how vibration, breath, and loving presence move through the human body.
Along the way, I also studied both Western Kabbalah and Jewish Kabbalah alongside Sanskrit mantra and kirtan—exploring two complementary points of view: one more for the mind (the sacred structure of the Tree of Life) and one more for the heart (kirtan, Craig’s Colorado Kirtan Society songs, and the Bhakti love flow).
ALONGSIDE THE MUSIC
I build the tools
I want to learn with.
Building apps is another passion running alongside this work. As I learn a song, I notice the kinds of support I want—for rhythm, harmony, voice, rehearsal, and focused practice—and explore how an app might help.
That has become its own learning experience: developing an idea, trying it in practice, discovering what is useful, and refining it. The music informs the tools, and the tools give me new ways to work on the music.
THE MUSIC LABS
A growing part of the studio.
The apps belong to this same creative process. They are experiments I keep learning from, shaped by the practical work of listening, understanding, and playing.