The aim of the pilot studies (Vilímek, Chráska, 2019; Vilímek, Kantor, Chráska, 2019; Vilímek, Kořínková, Kantor, 2021; Vilímek, Kantor, Krejčí et al., 2022; Kantor, Vilímek, Vítězník et al., 2022; Vilímek, Uhrinová, Bucharová et al. 2023) and long-term research as part of a doctoral thesis (Vilímek, 2025) was to investigate the effects of vibroacoustic therapy on stress in the general population through a randomized controlled study.

We focused on physiological functions (autonomic nervous system, skin conductance, hormonal regulation) and subjective perception (standardized PPS-10 questionnaires and VAS scales for stress, muscle tension and fatigue) in connection with acute perception of stress. We also focused on the application of the acquired findings through case studies in the areas of special education – cerebral palsy, mental disability, ADHD, Autism (Vilímek, 2025). 

The effects were measured using the spectral analysis method of heart rate variability in a pre-test/post-test format. Statistically significant effects of vibroacoustic therapy on the ANS, specifically on its parasympathetic part and on the individual's overall spectral performance, have been demonstrated.

Thanks to using the Vibrobed, it is possible to achieve overall relaxation of the body, support its regeneration and the ability to cope more easily with acute stress. Results in the area of subjective perception indicate the potential of the intervention to positively influence bodily sensations, emotional experiences, mental processes and subjective well-being.

"The results of the RCT study provide scientific evidence on the basis of which vibroacoustic therapy may be considered an intervention supporting autonomous regulation and subjective perception, which is characterized by the deepening of bodily perception and positive emotions."

(Vilímek, 2025)

Overview of research studies in which I participated as an author and co-author during my doctoral studies at Palacký University in Olomouc (Vilímek, 2018-2025).

• Kantor, J., Vilímek, Z., Vítězník, M., Smrčka, P., Campbel, E. A., Bucharová, M., Grohmannová, J., Špinarová, G., Janíčková, K., Du, J., Li, J., Janátová, M., Regec, V., Krahulcová, K., a Kantorová, L. (2022). Effect of low frequency sound vibration on acute stress response in university students – Pilot randomized controlled trial. Frontiers in Psychology, 13. https://doi.org/10.3389/fpsyg.2022.980756
• Kantor, J., Kantorová, L., Marečková, J., Peng, D., & Vilímek, Z. (2019). Potential of vibroacoustic therapy in persons with cerebral palsy: an advanced narrative review. International journal of environmental research and public health, 16(20), 3940.
• Vilímek, Z., Kantor, J., Krejčí, J., Janečka, Z., Jedličková, Z., Nekardová, A., Botek, M., Bucharová, M., a Campbell, E. A. (2022). The effect of low frequency sound on heart rate variability and subjective perception: A randomized crossover study. Healthcare, 10, 1024. https://doi.org/10.3390/healthcare10061024
• Vilímek, Z., Uhrinová, Z., Bucharová, M., Kantor, J., a Krejčí, J. (2023). Wirkung der vibroakustischen Therapie auf Spastik und Herzfrequenzvariabilität bei zwei jungen Erwachsenen mit Zerebralparese. časopis REHABILITÁCIA, 60(3), 1-15. https://doi.org/10.61983/lcrh.v60i3.11 
• Vilímek, Z., Kořínková, J., a Kantor, J. (2021). The impact of vibroacoustic therapy on subjective perception of university students – Mixed design pilot study. Universal Journal of Educational Research, 9(7), 1409–1420. https://doi.org/10.13189/ujer.2021.090707
• Vilímek, Z., a Chráska, M. (2019). Vliv vibroakustické stimulace na subjektivní vnímání. In Tělo a mysl. Sborník odborných příspěvků (s. 340–349). Olomouc: Univerzita Palackého v Olomouci.
• Vilímek, Z., Kantor, J., a Chráska, M. (2019). Vliv vibroakustické stimulace na autonomní nervový systém. In Tělo a mysl. Sborník odborných příspěvků (s. 332–339). Olomouc: Univerzita Palackého v Olomouci.

As a research initiator, co-author of the research design and expert consultant, I participated in the implementation of all the qualifying bachelor's and master's theses mentioned below focused on vibroacoustic therapy (Palacký University in Olomouc, the Czech Republic):

• Jedličková, Z. (2021). Vliv vibroakustické terapie s konstantní amplitudou na autonomní nervový systém (Bakalářská práce). Univerzita Palackého v Olomouci, Fakulta tělesné kultury.
• Kroupová, J. (2021). Vibroakustická terapie jako prostředek ke snižování stresu u vysokoškolských studentů se specifickými potřebami (Bakalářská práce). Univerzita Palackého v Olomouci, Pedagogická fakulta.
• Karasová, K. (2020). Vibroakustická terapie a bolest v kontextu speciálněpedagogické intervence (Bakalářská práce). Univerzita Palackého v Olomouci, Pedagogická fakulta.
• Martináková, K. (2020). Vibroakustická terapia ako metóda špeciálne-pedagogickej intervencie (Bakalářská práce). Univerzita Palackého v Olomouci, Pedagogická fakulta.
• Nekardová, A. (2020). Vibroakustická stimulace jako metoda speciálněpedagogické intervence (Bakalářská práce). Univerzita Palackého v Olomouci, Pedagogická fakulta.
• Smolíková, M. (2020). Vibroakustická terapie jako prostředek ke snižování stresu u studentů (Bakalářská práce). Univerzita Palackého v Olomouci, Pedagogická fakulta.
• Uhrinová, Z. (2022). Účinek vibroakustické terapie u žáků s vícečetným postižením (Diplomová práce). Univerzita Palackého v Olomouci, Pedagogická fakulta.
• Vítková, V. (2020). Vliv nízkých frekvencí vibroakustické terapie na svalové napětí a stres člověka (Diplomová práce). Univerzita Palackého v Olomouci, Fakulta tělesné kultury.

I acknowledge a potential intellectual conflict of interest which may arise from my authorship of the design and development of the VIBROBED vibroacoustic unit, which was used in all the above research studies. All studies were conducted on the basis of informed consent, entry questionnaires, planned research design, cooperation with expert teams and the research was approved by the Ethics Committee of the Faculty of Education, Palacký University in Olomouc, the Czech Republic.

BRIEF THEORY OF VIBROACOUSTIC THERAPY

Below you may find an excerpt of a brief vibroacoustic therapy theory from the doctoral thesis (Vilímek, 2025), which focused on "THE IMPACT OF VIBROACOUSTIC THERAPY IN THE EDUCATIONAL ENVIRONMENT WITH A FOCUS ON STRESS AND THE SPECIAL NEEDS OF PEOPLE WITH MULTIPLE DISABILITIES".

Vibroacoustic therapy was created based on scientific findings from physiology, neurology, psychology, acoustics and many other fields. Its development is closely linked to research into the effects of sound and vibrations on the human body and their use in therapeutic practice.

Due to its interdisciplinary nature, vibroacoustic therapy may be classified from the perspective of music therapy as well as vibration therapies, which fall into the field of medical rehabilitation. Vibroacoustic therapy has its roots in music therapy. Many prominent figures in vibroacoustic therapy were also music therapists and most of them used music listening as part of vibroacoustic therapy. Therefore, there have been discussions about whether vibroacoustic therapy represents a music therapy approach (Hooper, 2001). There has still been no consensus on this matter - vibroacoustic therapy is usually considered a rehabilitation method in contrast with music therapy, however, in some countries, such as Finland, vibroacoustic therapy is classified as a music therapy approach. 

From a music therapy perspective, vibroacoustic therapy is classified in the overview of receptive music therapy techniques by Bruscia (1998). He introduced, among other things, the concept of somatic listening, which defines listening using sounds (vibrations in low-frequency sound) and music with the aim of influencing the user's bodily perception. Types of somatic listening include:

• synchronisation – synchrony between vibrations, sounds or music in the client's bodily reactions,
• resonance (tonation) – vibrating parts of the client's body using vibrations, sounds or music, 
• music biofeedback – auditory feedback for autonomic body functions,
• vibroacoustic music – the bodily perception of vibratory (low-frequency) sounds when listening to sounds or music (Bruscia, 1998).

Vibroacoustic therapy also has close connections with medical rehabilitation and physiotherapy, where various forms of mechanical vibrations (e.g. as part of the Whole Body Vibration approach or local vibration therapies) have long been used to treat pain, relax muscles and promote blood circulation (Boyd-Brewer and McCaffrey, 2004; Brabant et al., 2017).

From this perspective, vibroacoustic therapy is classified as a vibration therapy using mechanical or sound vibrations to influence the nervous, muscular, and vascular systems (Boyd-Brewer and McCaffrey, 2004; Rüütel, 2002). Vibroacoustic therapy may be classified as part of a broader spectrum of vibration therapies which include:

• Whole Body Vibration (WBV) – a method using mechanical oscillations of the whole body to improve muscle tone, balance, functional performance and stimulate the circulatory system. WBV is also aimed at supporting gross motor skills, for example, in the case of patients with cerebral palsy and after a stroke. It is a neuromuscular exercise which uses oscillatory movement around a balance point to improve neuromuscular performance and balance (Saquetto et al., 2015). 
• Local mechanical vibrations – are applied to specific parts of the body and are commonly used for pain relief, muscle regeneration and lymphatic system stimulation (Boyd-Brewer, 2003).

• Vibroacoustic therapy (Vibroacoustic Therapy, VAT) – in the original concept of Olav Skille (Skille, 1989). Other terms corresponding to the current concept of Vibroacoustic Therapy include: (Vibroacoustic Treatment) (Skille, 1991), Rhythmic Sensory Stimulation (RSS), (Bartel a Mosabbir, 2021) Vibrotactile Intervention (Walters, 1996; Janzen, 2019); psychoauditory method (PAM) (Ahonen-Eerikainen, 1996) physioacoustic therapy (Physioacoustic Therapy, PAT) (Lehikoinen, 1998).

Vibroacoustic equipment 

Vibroacoustic units from the 1980s and 1990s were relatively simple from a technological point of view – e.g. bass speakers placed in pillows, resonant chairs or under various beds, later integrated into the resonant parts of the device. Technologies enabling the transmission of low-frequency sound have developed faster than scientific research, yet the first clinical studies showed promising results (Punkanen and Ala-Ruona, 2012). Sinusoidal sound does not contain higher harmonic tones, and its controlled application was only made possible thanks to the development of modern technology – e.g. low-frequency generators and amplifiers. Types of vibroacoustic therapy devices include vibroacoustic tables, beds and special therapy chairs designed to optimally transmit vibrations to the patient's body (Wigram and Dileo, 1997). Vibroacoustic therapy utilized various types of equipment which allow the transmission of low-frequency sound vibrations into the client's body. The most commonly used devices include (Punkanen and Ala-Ruona, 2012):

• Multivib (Norway) – vibroacoustic mattresses and pillows designed for whole body therapy. 
• Nextwave (Finland) – physioacoustic chairs enabling targeted stimulation of various parts of the body using low-frequency sound.  
• Somatron (USA) – multipurpose vibroacoustic devices used not only in therapy, but also in relaxation programs and wellness centres.

Application conditions of vibroacoustic therapy

Punkanen and Ala-Ruona (2012) define the following basic elements of vibroacoustic therapy, the interaction of which leads to the realization of vibroacoustic therapy as a treatment process (Figure 1):

• Low-frequency sound vibrations and their characteristics (e.g. pulsation length, volume, etc.) determining therapeutic efficacy. 
• Music – relaxation or activation functions. In the case of a disturbing effect on the client, only low-frequency sound without music may be used.  
• Therapist – creates conditions for the implementation of vibroacoustic therapy, e.g. safety, confidential relationship, provides information, controls vibroacoustic therapy equipment, acquires feedback from clients, reflects needs and therapeutic goals, etc. (Punkanen, and Ala-Ruona, 2012).

The complexity of the tasks the therapist performs during therapy sometimes leads to a distinction between vibroacoustic therapy, i.e. the application of low-frequency sound itself (possibly accompanied by music) and a more complex concept of treatment (vibroacoustic treatment), which, according to the scheme by Punkanen and Ala-Ruona (2012), includes a number of other therapeutic processes, e.g. verbal reflection or verbal psychotherapy combined with vibroacoustic therapy.

Theoretical framework encompassing a broader concept of vibroacoustic therapy elements and other factors (Figure 2):

• Vibroacoustic therapy user,
• low-frequency sound parameters, 
• music / ambient sound,
• vibroacoustic therapy device parameters,
• therapeutic context,
• environment for vibroacoustic therapy.

Vibroacoustic therapy user (or client, patient, etc.) – age, gender, health status, physiological characteristics (e.g. BMI or ANS reactivity), psychosocial factors (thought and behaviour patterns, traumatic experiences, etc.), individual preferences and needs, etc.

Low-frequency sound parameters – Key parameters of low-frequency sound include:

• Vibration intensity (dB SPL) – affects the transmission of vibrations through the material the vibroacoustic therapy device is made of and thus their effect on the user's body tissues. Vibroacoustic therapy commonly uses sound pressure levels up to 80 dB SPL (decibel Sound Pressure Level, a unit of measurement of sound pressure level, expresses the intensity of sound in the environment), which is a level considered safe and sufficiently effective for vibroacoustic therapy, while also corresponding to intrauterine conditions of the human foetus (Punkanen and Ala-Ruona, 2012). However, the exact level may depend on the specific therapeutic setting and the type of vibroacoustic device used.
• Frequency range – the most commonly used frequencies range from 30–120 Hz, with the optimal therapeutic frequencies depending on the indication (e.g. 40 Hz is most often used for stimulation of the parasympathetic nervous system) (Lehikoinen, 1998; Punkanen and Ala-Ruona, 2012).
• Modulation characteristics of low-frequency sound (e.g. amplitude or frequency-band modulation).

Music/ambient sound (if included in vibroacoustic therapy) – with vibroacoustic therapy it is possible to apply music of various genres and styles, but also ambient sounds or white noise according to user preferences. Some authors also describe the use of separate low-frequency vibrations (Boyd-Brewer, 2004; Campbell et al., 2019). Three universal principles of sound and music (Wigram, 1997) were also important for the development of vibroacoustic therapy, which later became the basis for many research hypotheses:

• high frequencies may increase tension, low frequencies may decrease it, 
• Music without a distinct rhythm may have a calming effect, while rhythmic music may have stimulating effect (excitement), 
• Loud music may incite aggressive behaviour, while calm music may have a sedative effect (Wigram and Dileo, 1997).

For the practical part of this doctoral thesis, descriptions of musical experiences on a physical and psychological level from more than nine hundred participants of research by Gabrielsson and Lindström, who collected them in the 1980s and 1990s, are essential:

• Bodily reactions – chills in the back, goosebumps, rapid heartbeat, etc. 
• Changes in perception – increased attention, in some cases associated synesthetic sensations. 
• Cognitive reactions – recalling memories and images, associative processes, changes in the perception of time, space and one's own body.
• Emotional reaction – in connection with a given musical experience.  
• Existential aspects of the experience of music – reflections on lifestyle changes and relationships with others, religious and transpersonal experiences. 
• A healing or therapeutic experience – changing the view of oneself, the world around us, or strengthening social bonds (Gabrielsson, Lindström, 2001).

Therapeutic context:

• Duration of therapy – the usual length of a vibroacoustic therapy intervention ranges between 30 and 60 minutes, with optimal therapeutic effects occurring in a series of 10–15 sessions (Skille, 1989).
• Exposure time – short-term applications may induce acute relief, while long-term use has cumulative effects on regeneration (Punkanen and Ala-Ruona, 2012). With longer exposure times, some people may experience so-called low-frequency sound saturation and negative effects such as fatigue, headaches and nausea may occur (Skille, 1992). 
• Frequency of vibroacoustic therapy applications – depending on the patient's individual needs, the therapy may be applied once or twice a week, however, in some cases (e.g. in the case of acute pain), it may be applied daily (Punkanen and Ala-Ruona, 2012).
• Combination with other therapies – Vibroacoustic therapy is often combined with music therapy, physiotherapy or relaxation techniques, which may increase the effectiveness of the therapy (Wigram and Dileo, 1997).

Safety and contraindications

Learning about possible contraindications to vibroacoustic therapy was an important part of the research and expanding therapeutic experience. Although vibroacoustic therapy is considered a safe and non-invasive method, various contraindications have been described in the literature, such as:

• Cardiovascular diseases – patients with unstable hypertension or cardiac arrhythmias should only undergo this therapy under medical supervision (Boyd-Brewer and McCaffrey, 2004).
• Epilepsy – some frequencies may trigger seizures in the case of patients with photosensitive epilepsy (Punkanen and Ala-Ruona, 2012).
• Pregnancy – the safety of vibroacoustic therapy in pregnancy has not been sufficiently investigated, therefore caution is recommended (Lehikoinen, 1998).

According to other authors (Grocke and Wigram, 2006), vibroacoustic therapy is contraindicated in the following cases:

• acute injuries or postoperative conditions,
• people with pacemakers,
• acute inflammatory diseases,
• psychotic disorders,
• hypotension (low blood pressure),
• fear of vibrations or hypersensitivity to sound stimuli (Grocke a Wigram, 2006).

It is important to mention that none of the above cases are absolute contraindications which would necessarily be dangerous for the user. Rather, they are recommendations based on insufficiently researched effects of vibroacoustic therapy on certain risk conditions. 

VIBROBED – OUR TECHNOLOGICAL AND RESEARCH DEVELOPMENT

Development of Our Unique Vibroacoustic Composition and Unit 

The research studies which are the content of the doctoral thesis (Vilímek, 2025) were carried out on a prototype of a technological innovation for vibroacoustic therapy – the vibroacoustic relaxation bed called Vibrobed, while most of them applied specially created vibroacoustic therapy compositions for this research focused on stress management called Elements. How did these compositions and Vibrobed come about?     

Vibroacoustic Composition Elements 

Based on my own music therapy experiences, consultations with experts, principles of therapeutic use of musical instruments and musical elements, pilot tests with low-frequency sound and music recordings from different parts of the world (including sounds of nature), the need arose to carry out our own research in vibroacoustic therapy composition aimed at stress management. After considering several concepts and approaches, we chose the path of creating a vibroacoustic therapy composition in a professional recording studio, where a vibroacoustic bed was placed. This gave us direct feedback for determining optimal resonance transmissions for somatic listening and compatibility of low-frequency sounds and music.

In the recording studio, low-frequency sound (LFS) materials were combined with original music based on the principles of receptive music therapy for relaxation music (resting heart rate 60-70 BPM, ambient character of the music, slow rhythm, simple harmonies) (Wigram, 1996). The low-frequency sound in this composition was created by a studio audio generator, as well as using electronic keyboards and a bass guitar with effects (compressor, equalizer, octave effect box to reduce the bass frequency). The sound was sequentially dosed, meaning that each NFZ stimulus was followed by a pause. In the composition, we used amplitude modulation (one pulsating frequency – gradually amplifying and weakening the signal creating pulse massage) and frequency/ring modulation (NFZ in the frequency range of 25 – 100 Hz transitioning from low frequencies to higher and vice versa at different rates). 

For the purpose of this research and approach, the concept of biorhythmic sequential dosing, which reflects alternating stimulation with low-frequency sound and a resting phase (pause) in certain rhythm so that this pulsation creates more natural structuring and conditions for somatic perception for the human organism. This is achieved by copying the human heartbeat in three phases (systole, diastole, rest) and breathing rhythm. A study by Mannes (2011) described that music may change heart rate and blood pressure in such a way that it synchronizes with the rhythm of music, regardless of genre (in Ala-Ruona, Punkanen, Campbell, 2015). A constant carrier signal, e.g. 40 Hz = 40 oscillations per second, is a very intense and unusual impulse for the body, not only from the point of view of somatic listening, but also of auditory perception (Figure 10). Based on empirical experience, Skille (1989) and Wigram (1996) described that prolonged stimulation through constant low-frequency oscillation may induce physiological irritation.

If we modulate the NZF so that the signal gradually increases and decreases (pulsates - the principle of amplitude modulation, also known as AM), we may reduce the influence of constant stimulation and expand vibroacoustic therapy stimulation by a variable element of pulsation – rhythmicity, and target the effect of a given frequency, e.g., on activation (faster pulsation) or relaxation (slower pulsation). As stated by Punkanen and Ala-Ruona (2012), low-frequency sinusoidal sound vibrations, which may be used for either relaxation or activation, constitute the basic element of vibroacoustic therapy. The main parameters which govern the intervention are the length of the sound pulse and the volume. Slow pulsations are used for relaxation and faster pulsations for activation. (Punkanen a Ala-Ruona, 2012). We consider the intensity (dB SPL) of the NFZ transmission to be as important a parameter of the vibroacoustic therapy input as the method of modulation of the low-frequency sound. The intensity parameter is rarely mentioned in studies, as are the modulation characteristics.

Frequency and ring modulation (hereinafter also FM and RM) is another modulation we used for research. It is based on the transition from a higher frequency to a lower one (sweep-down) or from a lower frequency to a higher (sweep-up), again in certain pulsation (at the time of the frequency band change). For example, a transition from 80 Hz to 30 Hz in 10 seconds causes a low-frequency sound transition (sweep), which the body perceives as a slow massage wave. We may target these frequency and ring modulations (as well as amplitude modulation) symmetrically - the change (signal modulation) occurs in the same way along the entire length of the body diagram or panoramically or alternately - gradually from head to toe and back. In the professional literature, similar procedures are often referred to as Frequency Sweeping, Frequency Scanning, Dynamic Frequency Modulation, Frequency Band Scanning, Glissando Effect. The term most commonly used in vibroacoustic therapy is scanning or frequency sweep. Skille and Wigram were the first to explore these modulation approaches (Skille, 1989; Wigram, 1996). In vibroacoustic therapy terminology, scanning is commonly used to describe sweep effects, however, there is a lack of evidence about their influence on the human body. The term scanning may be terminologically misleading; therefore, we use the established term frequency and ring modulation in this text (in the composition of Elements, the sweep up/down description is used). In principle, it is a change in frequency over time, typically in a rhythmic or cyclical pattern.

Few studies report detailed parameters of low-frequency sound, including the materials and technologies used (Kantor et al., 2022). However, these data are important for the reproducibility of studies, therefore, we describe the parameters of Elements in detail here.

Based on pilot research, the originally designed vibroacoustic therapy audio composition from 2019, which consisted of four main parts with a total duration of 20 minutes (4 x 5 minutes), was modified.

Original vibroacoustic therapy composition Elements (2019)

Vibroacoustic relaxation bed Vibrobed

In parallel with the development of the vibroacoustic therapy composition, a technical solution for research was also being developed – the vibroacoustic relaxation bed Vibrobed, the first prototype of which was manufactured in 2016 by the authors Zdeněk Vilímek and Petr Švarc. A version called Vibrobed 01 was created in 2018. It was intended for research purposes and later modified several times according to user preferences.

In the 2018 version, which was provided for all research studies listed below, an external amplifier of our own design with a power of 4x100W / 2 Ohmh was used with a built-in audio player module and NFZ generator with an amplitude-modulated sine signal. The output is fed into vibration exciters and headphones (without a modulated signal generator), potentiometers and an encoder were used for setting levels and controlling the generator and player. The amplifier with a player and NFZ generator allowed for the following variability of use for research purposes: 

• NFZ generator – low-frequency sound in the range of 20-120Hz with the possibility of amplitude modulation. 
• Amplifier and player – vibroacoustic therapy compositions or sounds of nature, possibility of parallel and synchronous playback with the NFZ generator. 
• User settings – correction of the volume of transmission to the resonant membrane (4 body zones - calves, thighs, hips, shoulder blades) and to the headphones, the height of one frequency or frequency range, speed and direction of pulsation, length of intervention, etc.

Next generation called Vibrobed 02 consists of an all-wooden structure with a modern sinusoidal design, low-frequency electrodynamic converters (exciters), an internal control module (integrated amplifier with a power of 250 W), a tablet with its own application Let´s Vibe and headphones with active noise cancellation.

By individually adjusting the type and intensity of vibrations, sound and musical stimuli are transmitted to the wooden resonant membrane and four body zones (calves, thighs, hips, shoulder blades) of the stimulated person, as well as to the ears through headphones.

Vibrobed has a valid Conformity Certificate No. 25TSU0039 and thus meets the essential safety requirements according to the following EU New Approach Directives in their current version: 

• 2014/35/EU Low Voltage Directive
• 2014/30/EU EMC Directive
• Harmonised and other standards for conformity assessment (see the certificate).

Vibrobed uses modern exciter technology to convert an electrical signal into mechanical vibrations which may be transmitted to various surfaces and materials. Unlike traditional speakers, which require a sound box to propagate sound, exciter (or sound wave exciter) generates vibrations directly in the given material, which enables efficient transmission of sound and mechanical energy. It works on the principle of electromagnetic induction, similar to a conventional speaker, but instead of a traditional diaphragm, it uses a contact point which transmits vibrations to the surface on which the exciter is mounted.

The exciter structure consists of:

• Coil: The electrical signal is fed into a coil that is placed in a magnetic field.
• Permanent magnet: It creates a stable magnetic field which interacts with the coil.
• Coupling pad: It transmits the generated vibrations to the underlying material.
• Mounting plate: Allows the exciter to be mounted on various surfaces.

This mechanism allows for an even distribution of vibrations across the surface and creates a strong mechanical effect even at low frequencies. Traditional speakers have a diaphragm that may cause acoustic distortion at low frequencies. Exciters transmit vibrations directly into solid material, which ensures a cleaner transmission of low-frequency sounds and a deep effect on the human body - stimulation of soft tissues, muscles and nerve receptors. Better conduction of vibrations through solid body structures allows for more precise targeting of frequencies to specific areas. Every material has its own resonant frequency. For example, wood resonates approximately at 50–80 Hz, which is suitable for deep vibrations, therefore, we designed the Vibrobed as a large monolithic wooden speaker box of the size of an adult human body to achieve the most efficient transmission of vibrations without distortion. The special resonance membrane had been tested and optimized for 5 years (material composite, ribbing, mounting and layout of exciters) for the transfer of low-frequency sound into the body. We reduced the somatic sensitivity to low vibrations from approximately 30 Hz to 23 Hz. 

Vibrobed represents a modern and innovative approach to sound and vibration transmission, which is crucial especially for vibroacoustic therapy. The main advantages include:

• Effective transmission of low-frequency vibrations into the human body controlled by an application on a tablet and an integrated amplifier directly in the bed.
• Direct contact with resonance – precise and undistorted sound transmission to the wooden structure and resonant membrane.
• Better vibration conduction through a solid structure. Wood resonates approximately at 50–80 Hz, which is suitable for deep vibrations. 
• Optimization for research, relaxation and therapeutic use – e.g. the possibility of flexible research audio design, muscle relaxation, blood circulation stimulation and support of the autonomic nervous system.

Based on the results of the above research studies, the following practical recommendations for the use of vibroacoustic therapy in the area of stress prevention and mental health promotion (Vilímek, 2025) may be formulated: 

• Vibroacoustic therapy as a means of parasympathetic activation. The significant increase in VSF shows that even a single exposure may lead to parasympathetic activation in healthy adults. Vibroacoustic therapy may therefore be a suitable tool for rapid regeneration during the day, whether in a school or healthcare environment.
• Vibroacoustic therapy as a means of promoting physical relaxation. Participants' reflections confirm that vibrations combined with music help promote deeper somatic contact, imagination, and calming the mind. In the context of counselling, psychotherapy and other psychologically oriented interventions, vibroacoustic therapy may be used to support body-grounded experiencing (Gendlin, 1969) and emotional regulation.
• The need to respect individual sensitivities and preferences. Analysis of subjective statements showed considerable diversity in the reactions and experience of the participants. In practice, it is necessary to adapt the vibroacoustic therapy application to the person's preferences, e.g. in terms of duration, frequency and volume.

The results show that vibroacoustic therapy leads to significant parasympathetic activation (increase in VSF). This intervention is perceived qualitatively differently compared to music without vibrations. On the contrary, no significant difference was demonstrated in salivary cortisol levels, galvanic skin response, or subjectively perceived stress. The results support its use in the areas of mental hygiene, stress prevention and therapeutic practice.

Vibroacoustic therapy is not just a therapeutic tool – it is a way to give the body space to calm down, orient itself, relax, regenerate and be able to trust not only the surroundings, but also itself again. Vibroacoustic therapy represents a promising bridge between science and humanity in the safe rhythm of sound vibrations.

LIST OF BIBLIOGRAPHICAL CITATIONS – Doctoral thesis (Vilímek, 2025)

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