The Frequency Producer: Tuning In to the Healing Gem of Vibrational Sound – An Interview with Gem Auset

She heard a voice yell her name—and it saved her life. Now she turns that voice into music that heals.

From a tiny mountain town in Australia to the heart of Los Angeles, Gem Auset’s journey is one of deep listening—to nature, to her intuition, and to a voice that once saved her life. In this episode, Gem opens up about her early spiritual awakening, choosing meditation over sports at the age of seven, and the path that led her to become a DJ, producer, and sound healer. Her connection to music has always gone beyond entertainment. It’s a tool for transformation, tuned to healing frequencies like 432 Hz and designed to bring people back to themselves.

As she shares stories of recording nature sounds in sacred places, collaborating with the legacy of Ram Dass, and building her Golden Frequency event series, you’ll hear how Gem blends art, spirituality, and science into everything she creates. This conversation is both grounding and expansive—a beautiful invitation to reconnect with your own inner wisdom and remember the power of intention, vibration, and presence. Whether you’re a creative, a seeker, or someone just starting your spiritual journey, Gem’s story will leave you feeling inspired and more in tune with your own frequency. To enjoy the conversation, keep reading or listen and subscribe for free on Spotify, Apple Podcasts, Amazon Music, or YouTube.

Tell us about your journey into consciousness, mindfulness, and spirituality. Where did you grow up, and was faith or spirituality part of your home life?

Gem Auset: I think I was quite lucky in that my parents were very open-minded. They were musicians and artists in their own right, and I think I had exposure to a lot of different things. I went to a Catholic school in a tiny country town in a small pocket of Australia that even Australians have never heard of, called Mandelong in the Wadigan Mountains, and it was a stunning place to grow up—very small, very sheltered, more cows than people. But it instantly gave me this reverence and this connection to nature that I think I’ve carried through into my adulthood and into my music. 

Faith was always a part of that Catholic school, although my family were not rigid on religion. They really allowed us to find our own way and what felt right for us. I was very, very young when I started meditating—I was very called to meditate. I remember it was a point of contention with some of my friends because we would be seven and eight years old, and they would be going to netball while I would be going to meditate, and they found that quite strange.

This was happening at school?

Gem Auset: In the afternoon, after school sports, they would do netball, and I would go to meditation class, because that’s what I asked my parents—I really wanted to learn to meditate. And they were like, “Where are you getting this from?” And I don’t know. I don’t know if that was a download or channel, but I felt very called to do that, very young, and I’m so glad I did because it’s been a saving grace time and time again.

The lessons started early, and it did die away a little bit during adolescence. I think you want to conform, and you want to be part of the group, and so I pushed that side of me away and I held it down. But it can’t be held down, and that is what awakening is—it just awakens in you. I realized that there was this part of myself that I was shutting off and that I was quietening and not listening to. And the more you try and do that, paradoxically, the louder it gets, and it gets impossible to ignore. And that’s definitely what happened to me.

I had two awakenings in a way—one when I was a child that was very natural and very comfortable, and then one in my later adolescence when it just got so loud that I couldn’t ignore it anymore. So I was like, “Okay, we’re doing this thing again,” and plugged myself back into the system. And that actually felt like coming home, and I was so glad that the energy and the universe had reawakened that in me, because I definitely wouldn’t be the same person without it.

In hindsight, you look back at all these threads that connect you to everything else, and I think, “Oh my gosh, I’m so grateful for that.” Although it wasn’t always rainbows and butterflies—you definitely go through that very difficult, very difficult phase. And I did have times where it did feel a bit isolating, and my fear of it being different to the normal or different to what my friends were doing—I think that’s just something you need to go through to find your own voice and your own message and be comfortable in the discomfort, which is a wild concept. But once you start making peace with that, I think it gets a bit smoother.

What drew you to meditation in adolescence, beyond just stress relief? What were you experiencing?

Gem Auset: I think it was the only time where I could hear the voice in a way that wasn’t confronting. I used to have these experiences where I’d be about to cross a road, and I’d hear someone yell, “Gem!” I’d stop, turn around, and there’d be nobody there—but then a car would fly past, and that had prevented me from getting hit.

I had quite a few of these events where something yelled at me—it sounded like—but it prevented something bad from happening. And when I would go into the meditation state, that voice was one that I could connect with more easily and speak to in a way that wasn’t frightening. I felt that I could really sink down and drop into a space that I would refer to as the void, but it was a beautiful void. It was one that was definitely filled with my imagination, filled with light, and it was a really safe space.

I found that in meditation, I could go in my own environment, at a time that was good for me. It felt like a safe way to approach that voice rather than walking across a busy road. So, it was really about connecting.

How would you describe the voice you heard at that age? Would you give it a name or a specific description?

Gem Auset: It felt familiar. It felt like someone who was on my side—not somebody I had met, but definitely familiar and warm. I knew it wasn’t the voice of my parents or a family member, but still, it felt like we had some kind of connection. That was always really hard to describe to people, but over time, I just learned to trust it.

I think those early adolescent years of pushing it away made the moment of embracing it. When I finally made peace with this voice, it felt more like a friend, or a higher self, or even the universe allowing me to connect in.

A really interesting thing happened—I would have these ideas or pieces of inspiration that I would pull down from the collective, and if I didn’t do anything with them, I would see them played out in other ways. That gave me a real understanding that this voice, this web of interconnectedness, is there for everyone. Those ideas were never just mine; they were part of something bigger, a larger collective that anyone can reach up and pull down.

That realization was really exciting for me because it wasn’t isolating at all. Instead, it connected me to a bigger web of like-minded consciousness, and that was very exciting.

Was music a big part of your upbringing, or did you explore it on your own?

Gem Auset: Yeah, it was definitely prominent. I joke and say it was a sickness and we were all inflicted, but it’s a beautiful thing. It’s our language to each other, and although I live 9,000 miles away from my family, I still use music as a mechanism to connect with them. That was certainly the case at home—I would come home and Dad would be playing guitar, and my uncles, my stepmom, and my brothers were all into music in different forms.

Even my great-grandfather would sing and had a radio show. It’s definitely part of our archetypal journey, I think, to create and to create together.

In your early years, were you drawn to singing, a certain instrument, or something else? How did it unfold?

Gem Auset: I loved writing. I loved sitting down and doing my meditation or just sitting under a tree. I mean, it’s no surprise to any of my family with the music that I’ve ended up making, where I’m recording nature sounds. But I really loved to write—I would sit down, take inspiration from nature, and then create these pieces and have my family play them.

It would start off as a poem or a little piece of lyric, and hearing other people perform that was really special. Later on, I learned that that’s what a writer and a producer does, but it was very natural for me. I just wanted to create something for them to share in—that was really the motivation originally. That then grew into playing the bass and singing, sometimes when there’s no one better, but mostly, I just love creating.

Can you share something you wrote as a child? Did you start recording music at a young age?

Gem Auset: I think my first recording was at three, although that wasn’t original—that was Twinkle, Twinkle Little Star. I don’t think I was breaking any writing barriers with that one.

I would write, and I think originally my writing would scare my parents a little. It was an outlet, and they were like, We’re glad that you’re getting this out… this is a bit much for the world right now. So it was a safe container in which I could channel, although I wouldn’t have called it that at the time.

I think one of the earliest pieces that I wrote and recorded, that they were okay with me sharing with people, was called Afterglow. It was a piece about sitting in that warmth, that golden glow. And it’s funny when I reflect on that now because I have my event series, The Golden Frequency, and everything I do is really about trying to bring that warm feeling that I found when I was little, then lost along the way, and re-found.

I think I’ll probably spend my whole life writing about that feeling—that aliveness, that connectedness—because when you connect into that, there’s just nothing like it. There’s no comparison. It’s that true presence of love and aliveness, and I just think that’s why we’re here. If I can share even a little bit of that with people, that makes me very happy. But it’s not lost on me that Afterglow was also one of my earliest recorded pieces. I was around 12 when we recorded it.

You’ve talked about that feeling of afterglow—a sense of life and love. Where do you experience that most?

Gem Auset: Oh, I experience it a lot in the studio—all the time—where we’re always trying to connect into that.

But meditation, first thing in the morning, under a red light, just trying to connect into my true self before I’ve looked at the internet or my phone—that’s really that place we have available to us all the time. But it’s easy to disconnect from it, easy to be distracted, easy to let the world dictate. I think it’s a place we all have naturally, and I try to go there first thing in the morning and then recreate it in the studio.

But also, it’s doing yoga with friends, it’s dancing under the stars—I love ecstatic dance. It’s anything where you get that real connection, that pure energy of joy.

And I always feel that when I come home from events, meditating, or the studio, I have this little feeling like my frequency has increased, my aura is brighter, and there’s this sense of an afterglow where you just think, Oh, I want to bathe in this forever. How do I hold on to this moment?

Suzanne Ross describes transcendence as a way of living—rising above anything misaligned with life and love. How does that idea resonate with you?

Gem Auset: Yeah, it’s really beautiful, and I think it’s in a similar vein to how I use intention and frequency.

Really, what I’m striving to do is bring beautiful frequencies that people can align an intention to, and I truly believe that’s where healing or transcendence occurs—it’s the marriage of those two really beautiful elements.

I can create music, and I can have frequency, and that’s a great and wonderful place to start. But then, I think you embed your intention in, and that’s where true transcendence and healing occur. And that’s really magic.

You’re a producer, DJ, artist, and event curator. What is your main focus right now?

Gem Auset: My main focus is to bring more conscientious music to the world, and that takes shape in different formats, as you said.

There’s the producing in the studio and then bringing it to live shows and events. I see the role as the same whether I’m in the studio, on a stage, or at an event—I’m just a messenger. I’m just a person bringing this through, and I think it’s there for people when they’re ready to connect with it. We all come to it at different phases and stages, and that’s more than okay.

I see it as bringing this beautiful thread of golden frequency through, and when people align their own intention to it, I think it changes daily for each of us. But that’s really my role—I’m here as a messenger, and my modality is music.

I’ve been listening to Sacred Spaces under The Alchemy of Frequency. In face, I’m using Heartfelt and Debris in my breathwork session tonight.

Gem Auset: Thank you. Heartfelt is spoken—it’s a guided meditation with nature sounds, all in 432 hertz, which I love producing in.

And Debris is actually off my album Healing Feelings under Gem on Spotify, and it’s also in 432. I love the affirmations, and it’s quite catchy. I use that in the morning—I’m like, oh yeah, I feel good, and it just gets you in a vibe.

Can you tell us what frequency is from a technical perspective, and why is 432 Hz significant?

Gem Auset: Everything oscillates at a certain frequency—it’s just time and pitch of a sound wave, and everything is impacted by that.

There are some beautiful studies on water, which is really what I based the frequencies that I use around, by Dr. Emoto. And it’s just—the water has consciousness. And when you think of our bodies and what percentage of water we are, we too are so impacted by frequencies.

He did a study playing different frequencies, different songs—some with really positive messages of love and hope, and then some darker messages. And the water would disfigure under a microscope, or it would become very symmetrical and very lovely, like we see in nature, like leaves and snowflakes. And when you think of your body, you want to be in alignment, you want to be in harmony, you want to be symmetrical.

So we’re using these frequencies that have been proven under a microscope to have an impact on the water within your body. And I find that just so wild and incredible.

432 and 528 hertz are both two of the most wonderful frequencies to use for this purpose. They’re frequencies that actually—this is so crazy—but if you take a piece of the most beautiful nature and you strip it back to its core, that is actually the frequency in which nature resonates. And my whole work is just really trying to get us back to our most natural homeostasis. It’s bringing us back to nature because it’s divine and so beautiful, untouched, as is.

These frequencies that we tune in the studio—we have whole notes and we have songs that are tuned to these frequencies—and it’s just bringing you back into alignment, bringing that consciousness and that intention into the water in your body, to have you symmetrical and balanced and in alignment.

How you use it, it’s really up to you. I personally love putting on a song and placing my intention.

That’s back to the formula that we were just saying—frequency plus intention equals healing. And that’s something I found very, very true. It’s something that I see playing out at these workshops and experiences, and I have beautiful messages from people contacting me saying, Oh, we listened to 432 hertz on one of your playlists as we were meditating, and they have these really transcendental experiences, which I love getting that feedback.

But I think playing it as part of your routine and learning to set an intention and really directing it—I think we’re incredibly powerful beings, and a little bit of intention goes such a long way with instructing, Well, how would I like to use this frequency?

Let’s use Debris as an example. It has these powerful morning affirmations. Okay, I’m waking up and I want to feel good and I want to feel free, and I let go of anything that isn’t serving me, which is all intentions in the song.

You can really embody that in your morning practice as you’re playing this frequency, and it’s just like supercharging your morning affirmations.

I love a good old bio hacks, so that’s why I would suggest using it.

What inspired Sacred Spaces, and what can listeners expect?

Gem Auset: That album was really inspired by—as I’m traveling around presenting music at these gorgeous spaces, there are some places—where you walk in and you go, Wow, the energy just as it stands is incredible.

I mean, California is so rich in some of these spaces. I definitely feel that when I go to Joshua Tree, like, Whoa, the vortex is just undeniable. There’s this hum that is—it’s so striking and moving, and I wanted to capture that.

So I would go around to these sacred spaces, these beautiful places in nature, and I would record the ambient sounds.

Places like the Daintree Rainforest in Australia—that was actually a very funny recording because I wasn’t expecting the frog sounds to be so intense. It was actually a little bit scary. I was like, Wow! It was just so big.

But places like that—taking the ambient frequency—and then we composed around it using a beautiful orchestra and some friends of mine, all in 432 hertz.

But the nature, the ambient sound of the location, of the title of the track, was really the bed of the frequency, and then we just did our best to complement what nature was already providing.

So, it’s a nice little travel through time to all different spaces and places around the world.

I was just in Sedona, and for the first time, I saw it covered in snow. Listening to Sedona Sunrise, I loved the nature sounds. How would you describe that track?

Gem Auset: That song, for me, was like—nature wakes you up and reveals itself to you.

I think when we have these phases in life where we’re in a really good routine and we’re not being woken up by an alarm because our body clock is really working, I feel like the alignment with nature is very similar.

And when I was out there watching sunrise, nature creeps up on you, and it’s this slow rising. It was very, very powerful, and I had this feeling of being very humbled. I felt very, very small against the backdrop of such beauty, and I think there’s that removal of ego that’s really important throughout this work.

Being somewhere like Sedona definitely does that, and that track was really around that—bringing nature up so you’re quiet amongst it all.

Not of the World features Ram Dass quoting a Bible verse. Who is Ram Dass to you, and why did you create that song?

Gem Auset: Ram Dass. Wow, yeah—who is Ram Dass to me? An incredible spiritual teacher and a mentor of sorts. I think we all have mentors, some who never know they’re mentors to us—so maybe he does.

I find that when I listen to his talks, I have to listen multiple times because they’re just so dense with information. I’m like, wait, what? What?

It’s mind-blowing to me and it’s so layered that I have to go back and listen so many times and I take all this new information from it. And I think, speaking of messengers, what a powerful, powerful messenger he was. My biggest challenge when I was working with the Love Serve Foundation, who beautifully represents all of his IP and his work, was picking one message of Ram Dass. It’s like picking a favorite child. I’m like, how do I do this?

I listened to hours and hours, and so I hope that there’s a long album with lots of Ram Dass work coming, because I have so many saved. That message, I think, resonated with me at the time because I live in a few different places and I’m traveling the world, and there is often this propensity in life to get caught up in the weeds, to be somewhere.

We were speaking earlier about setting your energy rather than having it dictated to you, and I think Ram Dass is such a powerful and brilliant example of someone who was able to do this. That whole point—to engage but not let it dictate you, to be there and be present but also be able to be the observer at all times—that’s a really difficult task.

That’s something that’s incredibly hard to do, and you find yourself drawn into debate, drawn into the conflict, drawn into the negativity or the darkness that’s available if you choose that. Or can you notice that, observe it, be aware of it, and still maintain your energy? Still maintain your presence and have a little barrier?

That’s been a real lesson for me. I think, as an empath, I just take everything on, and I’ll be in studios, at events, and it’s easy to be depleted. And I think this message of being really involved and present but still maintaining your highest self and your frequency—as a frequency lover, that’s something that just really resonated with me.

I’m so glad you know that passage. I cut and pasted around to compose it, to be listenable in a musical format, but I would really recommend that people go back and listen to his speeches around this because they are incredible and deep.

I don’t even know where to start or end with Ram Dass. He will just be a forever teacher.

Edwin Friedman talks about being a “non-anxious presence” in relationships—staying present without letting external energy disrupt your own.

Gem Auset: Exactly—being in the world, not of the world. 

And I think, as usual, he’s got such an articulate and beautiful way of saying it. You’re just like, “Of course!” But yeah, I love Ram Dass. As I said, I look forward to doing many, many of his songs.

What is Grammy Next, and what has your experience been like? What is the outcome desired from it?

Gem Auset: Grammy Next was a beautiful opportunity I’m so grateful for… It was actually the catalyst to move to LA and I’ve really found a gorgeous group of community through it. So I’m very, very grateful. And I was one of eight people from around the world selected for that particular year and one of two women. I think I am absolutely loving seeing more females in the technical side of music and I’m a huge champion of that.

Grammy Next is a program by the Recording Academy, which is the company that give out Grammys, and they are trying to build music community for a better tomorrow, and that’s something that I really aligned with, and I have met many ambient and new age leaders through this, where the music is just so powerful.

Actually, speaking of Ram Dass, one of the incredible Grammy nominated records by Beretta, he dreams and he’s Alan Watt’s work, and it actually really inspired my own work with Ram Dass. So I think there’s been a lot of inspiration and a lot of people that I’ve met through that.

Currently, I am about to release an album that’s all based around the moon and we have a single coming out this month actually called Mountain Meditation. This is with a Grammy nominee, her name is Cheryl and she’s an incredible composer and a brilliant collaborator. It’s actually taught me a lot about the art of collaborating, because we’re polar opposites, we are the Yin and Yang of each other in every situation, and it’s taught me a lot about how to adapt to that when you’re so different and you’re coming at it from just a completely different point of view, and all of her strengths are my weaknesses and vice versa.

It’s quite beautiful that way, because I feel like we’ve come out of it realising that differences should be celebrated and when you can find a way to work together as beautifully as we have, you don’t fear differences. You’re actually like oh wow, you’re so different like this, how do we make this work? And I think that’s a real message at the moment of embracing people that are different, different belief system to you, different values, and that has just been a magical work to bring to life, a labour of love, for sure, that we’ve been doing over the last year.

But that is the next step for me as part of this, meeting Cheryl through the Grammy community, and we are releasing it. We have an album launch in Mammoth Lakes in June in in California and it’s just so delightful. I can’t believe that I get to make ambient music that’s around nature. I’m still like, wait, I get to do this. This is so cool. I’m incredibly grateful. So the program brought me to LA and put me with mentors, and it’s just been an incredible journey.

How do you balance your roles as an artist, producer, DJ, and event organizer?

Gem Auset: It’s all the same really. Sometimes my voice is louder and sometimes it’s softer, and when I produce for other people, they definitely come to me because they want a Gem-like thing. So there’s some synergy there that I can bring.

I’m currently working on a movie score that is all about frequency and bringing those beautiful ambient and electronic frequencies to film, and so, whilst it’s not I didn’t write the script and it’s something that I’ve been brought into. They’ve been attracted to using me in that way because of the frequency music that I make. 

I think that’s true for artists that I work with. It’s true for remixes. You’re coming to me because you want an ambient, textured, nature-like sound, and I think that’s become my brand and, I think, what I love the most. So I’m also choosing projects that align with that.

I want to work on music that forwards a message of intention and consciousness and helps people really connect in with that, and so it’s in the selection process, but I just feel like I’m the same in all of these. It’s just taking these frequencies and bringing them to life for others and for myself.

You mentioned the lack of women in music production. Why is that, and do you see change happening?

Gem Auset: It’s definitely changing, and I love that so much. I think there’s a real call. You just want representation of all kinds, especially in something like art.

Art is something that people look to and art can be dismissed as frivolous until you need it, and then, when you need it, it’s survival. It’s that album that got you through a dark period or got you through recovery, or got you through a breakup, and it’s the albums that helped you ascend to higher levels of yourself or ask bigger questions, or paintings that you stand in front of and you’re never the same after.

I think art is so important in that way for our own evolution and for that it needs all voices of all different backgrounds to contribute so that we do have voices that speak to you, and I think it’s changing in a beautiful way. I’m seeing female producers, I’m hearing music that I never would have been exposed to if those people weren’t given a chance to share their voice, and that’s a beautiful, wonderful thing.

I think technology has helped so much. Publications like yours, where you’re giving voice to people that think differently and share consciousness and it wasn’t represented as thoroughly before in mainstream media, and there’s just this hunger for it now in society and I love that.

Yes, I see it changing. I think statistically it was 1% were previously female producers, which is quite low and I’m not currently sure what the percentage today, but I do see it increasing. And for DJ and engineers, I believe it was 3%. So, yeah, underrepresented across the board in technical roles.

Why was that? I’m not sure, were opportunities. I think we’re all pretty accustomed to what a boys’ club looks like. Also, just music can be unappealing for women in if you are walking into studios that are all men, there wasn’t HR, is it safe? You know you’re traveling, it’s night-time shows.

Safety, I think, is a major implication in that, and so creating environments, like we are doing with our events that are during the day, at sunset, and it’s safe and it’s inclusive, and having spaces and places where people can feel safe, feel welcomed, come as you are. I think that’s incredibly important.

What is the Golden Frequency Series? Where do these events happen?

Gem Auset: Currently, they happen in Malibu and in Mammoth Lakes, and we are looking to expand those to everywhere that we’re touring. It is just a beautiful offering and it’s just such a piece of my heart because it’s festivals that I tour, all my favorite parts of them.

I love going to an event where you start consciously and we set the energy and there’s movement. Sometimes it’s yoga, sometimes it’s dance, but it’s setting that intention and then really grounding that into your body, and I think that is just so powerful.

Then, we have a beautiful music component that is composed of DJing and live instrumentation, really cool instruments and vocal toning, and it’s just this really uplifting, beautiful thing. The community that’s being built from that is probably my favorite thing about it.

Just having a space to go, that people think like you and, oh, we’re all here to get better, and you can trade meditation practices or what are you trying and what ritual oils are you using and what have you been through recently. Just a space to really be held by peers.

We know it’s not always beautiful. The shadow work can be difficult. It can be hard, it can be really taxing. Sometimes you don’t always have people in your immediate circle who have done that work. Or perhaps you’re at a different vibration to your family, and that’s causing some discordant frequencies. Maybe it’s not connecting at home, so you need those places to connect and talk to, and that’s what Golden Frequency is providing.

What advice would you give to artists trying to make a living from their craft?

Gem Auset: My biggest advice is to find your authentic message. And that’s counterintuitive.

I think there’s so much information online, and you’re meant to fit into a box. You’re meant to fit into an algorithm. But in the same way I was talking about how we need different voices, we need different perspectives. We need all the colors of the rainbow so that people can find their likeness within you.

If you’re hiding that, if you’re squandering it, if you’re trying to be something you’re not, then that means there are a bunch of people out there that can’t connect with you—people who are just like you, who need your message. And I think, more than ever, we need that really unique point of view, that message.

I would say, find what that is. Then, it gets a little bit hairy, it gets a little bit tricky. When you’re first sharing your art, there are going to be naysayers. I know, making ambient electronic music, people were like, why does it need to be in this frequency? I got a lot of pushback, and that’s okay, because that’s part of the educational process.

This is what I’m called to do, and it’s true to my artistic process. If that doesn’t fit you, that’s okay. And I think having that confidence to stay the path—because it does get shaken—but find your authentic voice and then just do whatever you can to bring it to the world.

And with technology, it’s so easy. You can get on Instagram, you can get on YouTube, TikTok, whatever your platform is. Just—we need you. Come to the party. Bring your voice.

Where can people connect with you and your music?

Gem Auset: You can learn more at gemauset.com, and I love receiving DMs on Instagram. I’m @gemauset on Instagram. On Spotify, I am also Gem, and on all the music platforms, you can find me everywhere.

But I love receiving personal messages from people who have listened to the music or who want advice on how to better use frequency. It’s one of my favorite things to talk about, so please feel free to reach out to me, and I will always respond.

Thank you for sharing your story and your passion for bringing good into the world through music.

Gem Auset: Thank you, David. I love what you’re doing and your publication—a home to house all of us. It’s really beautiful, and I’m truly honored to be here.