Analog vs. Digital: How Flower Essences and Bioessences Are Made

Like any good GenXer, I have a foot in both camps.

We get asked sometimes if we use machines to make our flower essences.

Nope. We’re doing it the old school way. Extremely seasonal, hard to scale, and it requires perfection on more levels than I care to list.

Then the next question, from people who’ve looked at our bioessences: “Wait, so you DO use machines?”

Yep. For those, absolutely.

Both answers are true. The short version of how flower essences are made around here: flowers on a bowl of water, in the sun, prayed over, left alone until the water carries the light. Bioessences are the opposite: hertz frequencies and substance imprints put into water with a generator, exact and repeatable. Same company, two methods, and the reason is worth the long version.

How flower essences are made here

The flowers are chosen with care. Most of ours grow where I live, on the edge of the Selway-Bitterroot Wilderness in Idaho. A lot of them we grow ourselves. Others we pick wild, and those are a literal field trip up into the mountains.

The flowers are set on a bowl of pure water, prayed over, and left completely untouched in the sun until the water carries the light. One kind of flower per bowl, always. A blend is made later, from finished essences, never by mixing flowers in the water.

That’s it. No striking the bottle. No potentizing. No machine. The flower’s energetic pattern moves into the water, in stillness, with the sun doing the work.

I’ve written about the Genesis side of this before, so I’ll keep it short. The word translated “hover” in Genesis 1:2 means to flutter, shake, or vibrate. The Spirit of God was vibrating over the waters. When I make an essence, I choose the flowers, pray over the composition, and leave it for the Spirit to hover over. I don’t touch it until I literally see light, and see that the light is good. If you want the long version, it’s in Eden in Our Hearts.

What you end up with is a mother essence. That gets preserved and diluted forward into the stock and dosage strengths that go in the bottle you buy. There’s no plant material in the finished essence. What’s in there is the pattern the flower left in the water.

If you’ve used a flower essence and wondered how a bottle of water with “nothing” in it does anything, the short answer is that water is a very good recorder. Our science page covers structured water, imprinting, and biofield research if you want the mechanism side.

Why the old way is such a pain

Flower essences made this way are tied to the flower actually blooming. You can’t make a batch in January because you’re low on inventory. You wait for the plant.

The flower has to be in good shape. The day has to cooperate. The place matters. And I’ll tell you a secret: some flowers look terrible during the infusion. Chicory and wild lettuce wilt and droop like they’ve given up. The essence comes out fine anyway. That took some nerve to learn, because everything in you wants to pull the bowl in and start over.

I started doing this as a kid, before I knew it was a thing anyone else did. My first essences went into empty film canisters (a sentence that instantly carbon-dates me) and sold for seventy-five cents each. Harebell and Sweet Pea were two of them, and they’re still on the shelf today. The quality control has gotten a lot more stringent. The method hasn’t changed.

What “digital flower essences” are

It would be nice to push a button and make an essence whenever we want. The technology exists now, so that’s what a lot of people do.

Broadly, a machine-made flower essence gets built one of three ways:

• A recording. Somebody takes an existing physical essence, records its electromagnetic pattern with a sensor and a computer, and stores it as a file. Later, the file gets played back into water through a coil or a pad. Copies of copies, on demand.
• A code. In the radionics tradition, each remedy is assigned a number or “rate.” You type the rate into an instrument, set a vial of water in the well, press a button, and the water is considered to carry that remedy.
• A frequency. Somebody decides that a particular hertz value (or a short set of them) represents the flower, and a generator imprints that into water.

All three are fast, repeatable, and don’t care what month it is. I’m not knocking anyone for using them. There’s real ingenuity in that work.

But the result feels one dimensional to me. Digitized flower essence signals tend to capture the outer shell, the “surface frequency” if you will. They miss the subtle relational energy of the real thing. The nuance. The phase shifts. The vibrational complexity that happens when a flower blooms in a particular place, in a specific season, with intentional hands gathering it.

That’s not something you can compress into a waveform.

The vinyl-and-MP3 version of this argument

If you grew up with record players and cassette decks, you already know the shape of this.

To turn any continuous thing into a digital one, you sample it (measure it at intervals) and then round each measurement to the nearest step on a scale. Whatever lived between the samples and between the steps is gone. Engineers call the rounding error “quantization noise,” and it shows up as harmonics that weren’t in the original. You can make the steps finer and the samples closer together, and a good digital copy is very good. But the copy is always a description of the source, not the source.

A living flower in the sun is about as continuous and context-dependent as a thing can be. Plants even emit tiny amounts of measurable light, and how much shifts with their condition. Whatever I’m seeing when I watch for light on the water, I’m not going to pretend I can hand that to a sensor and get the same thing back.

So we stay analog, on purpose.

You’re not just getting a vibrational match. You’re receiving something alive, subtle, and multi-dimensional. That’s something we’re not willing to flatten.

How bioessences are made

Now the other foot.

Hertz frequencies? Imprints of minerals, amino acids, herbs, and other odd substances? For those, we do use precision tools to capture and embed the pattern into a bottle.

A bioessence is our own category. There was no tradition to inherit, so we built it. A typical bottle has three parts:

• A hertz frequency set for the physical system the bottle is built around. These come from published frequency lists, not out of my head, and we keep a record of which list each set came from.
• Imprints of substances known to help that same system: nutrients, herbs, amino acids. These are the energetic signatures of those substances held in the water, not the substances themselves. There’s no black walnut in a bottle of Parasite Assassin. There’s the imprint of black walnut.
• Flower essences, made the analog way described above, for the emotional piece underneath the physical one. Most chronic stuff has one.

No herbs in the bottle. No oils. No actives in the chemical sense. The bottle is energetic imprints in water.

The hardware side is a set of frequency generators and imprinting coils and pads. Frequencies go into water through a field. The water holds the pattern. You drink it, four drops in whatever you’re drinking. Same basic concept as a flower essence, different source code. There’s a longer explanation in How Bioessences Work.

Why digital is the right tool here

A frequency is already a number. 528 Hz is 528 Hz. There’s nothing between the samples to lose, because the source was never continuous to begin with. Imprinting a frequency set with a generator isn’t a compressed copy of anything. It’s the thing itself.

And when a published list runs thirty-plus entries for a single subject, and every one of them has to land, that kind of exactness is a gift. These digital imprints are exact, repeatable, and fast. The whole set goes into the water the same way every single time. You can’t do that with a bowl and a sunny afternoon, and you wouldn’t want to.

Match the method to the source. A flower is analog, so we keep it analog. A frequency set is digital, so we keep it digital. Trying to swap those is where things get flattened or fussy.

One thing about the word “frequency”

When we say frequency, don’t assume every number means something measured and established in conventional physics. Some of them are that. Others are bioenergetic claims about what a given frequency is supposed to do, carried forward by practitioners because they’ve seen results, not because anyone ran it through a lab. Both kinds are in the published lists, and they sit side by side without labels most of the time. I’d rather tell you that up front than let the word do work it hasn’t earned.

The frequency lists we use aren’t a secret, either. The “You Choose” bioessence page tells you exactly where we look. You look up the issue, copy the string of numbers, hand it to us, and we make the bottle. That one is frequencies only, no flowers, for people who want it that way.

How the two ended up in one company

I built my first parasite zapper at seventeen after reading Hulda Clark. I decided the approach was too rough and spent years working toward something easier on the person. So the frequency side has been in me a long time. I just never wanted a Rife machine, because I knew good and well I wasn’t going to sit there with my feet on the plates and plasma tubes in my hands for thirty minutes every day. (To be fair to the machines, remote and plasma setups don’t have that problem. Contact mode does.)

Imprinting was a godsend for me.

The bioessence category itself came out of a collision. Eve, the naturopath we partner with, does a lot of work with frequencies. I saw her using her tech in ways the inventors never imagined to imprint into some water. “Yeah, that should work,” I told her. I’d been imprinting my low-tech way since forever. She wanted to understand how I work with water, so we ran a few experiments, and when we hit some early success it was like all the limitations we knew just fell away. For about two months we were like mad scientists, creating and testing and not really eating, sleeping, or showering with regularity. At one point I thought I might be manic. It was a season, and I settled down.

Two crafts, opposite in nature. The flower work taught me what water can hold, and the frequency work taught me how exact you can be about what you put in it.

Why we need both

The two could not be more opposite, yet they work together perfectly.

Healing isn’t sustainable or complete until it’s happened on all three levels: spirit, soul, and body. The hertz frequencies speak to the body’s systems in the body’s own terms. The flowers speak to the emotional and spiritual roots that so often sit underneath a physical problem. Prayer over the water covers the part I can’t engineer.

Take a bottle apart and you can see the two crafts side by side. Parasite Assassin carries its frequency sets and its imprints, and alongside them Black Currant for fear-based patterns and upheaval, Borage to lift a heavy heart and encourage, and Bee Balm for when your fire has dimmed. Digital and analog in one bottle, each doing the job it’s suited for.

And our sound essences sit right on the line between the two. Del, who makes them, has the water present while the music is being played, then feeds the music back through it for hours, sometimes days, and prays into it as much as any of my flower essences get prayed over. A recorded frequency, delivered live. I told you I have a foot in both camps.

Which one you’d start with

A few ways to sort yourself:

• If what you’re working on is emotional or spiritual, or you suspect a physical thing has an emotional root you haven’t looked at, start with the analog side. Our bouquet blends are flowers only, up to seven per bottle, each built around one territory. Yarrow Shield is the one we built for people who come home from a crowd carrying everyone else’s mood.
• If you’d rather pick your own flowers, the individual essences are all made the sun-and-bowl way. Harebell for not giving your power away to the group. Sweet Pea for finding your place after a move or a long stretch of rootlessness. Those two have been with me since the film canister days.
• If you’re drawn to the frequency side and want the exactness of a set built around one body system, look at the bioessence blends. Each one pairs that set with the flowers for what sits underneath, so you’re getting both camps in one bottle.
• If you already know the frequency set you want, or you’d rather skip the flowers entirely, “You Choose” is the frequencies-only route.

Whichever way you go, the drops work the same: four drops in any drink. The bottle doesn’t care whether it came from a bowl or a coil.

So yes, we use the tools. We use the tech. But we also still go out and pick the flowers.

Because the world is getting louder, faster, and more synthetic by the day, and there’s something deeply healing about returning to what’s real. What’s rooted. What’s relational.

Thanks for trusting us to walk that line with you. Between the frequencies and the flowers, the digital and the divine.

Read next: How Bioessences Work goes deeper on the frequency side, and Flower Essences vs. Homeopathy covers the other question we get about how these are made.

These statements have not been evaluated by the Food and Drug Administration. Our products are not intended to diagnose, treat, cure, or prevent any disease.