Using resonant frequencies is a clever idea for a crystal forest. Just make sure you map each crystal’s natural vibration to the right sound so the whole scene feels cohesive. A little tuning will keep the audio from sounding off‑beat, and you can play with subtle harmonic overtones to make the environment feel alive. It’s all about matching the physics of the crystals to the mood you want.

Sounds great—let’s get the crystal map on paper first. I’ll list each crystal type, its expected resonant frequency, and the harmonic series we’ll use. Then we can decide which notes will anchor the main melody and which overtones will serve as those whispered secrets. Once we have the numbers, we can test a few samples to see if the forest hum feels natural or if we need to tweak the tuning a bit. Let’s start with the big, low‑pitched quartz—what’s its base frequency you’re thinking?

180 Hz is solid for a deep quartz anchor—warm, rich. Just be careful with the 360, 540, 720 Hz layers; they’ll stack quickly and can muddy the mix if you push too hard. Try keeping the 360 Hz at a lower volume and use the 540 Hz sparingly as a shimmer, then the 720 Hz can be a very faint background hum. That way the forest feels alive but not overpowering. Let's run a quick test on those frequencies and see how the overtones sit together.