
PULSE LIVE
Improvised live music. Breathwork, guided movement, sound bath and facilitated integration, featuring Pulse, the eight piece Humane Design house band.

About
What it is
Sober all-ages live music and dance experiences to connect with yourself and others, for the public and for companies.
Mission
Create a safe, sober, kinetic experience to deliver what each person needs in the moment.
Five values
The formats

Improvised live music. Breathwork, guided movement, sound bath and facilitated integration, featuring Pulse, the eight piece Humane Design house band.

Sober DJ pop-ups.

Collaboration
Silent disco ecstatic dance on the beach, with BE Ü Collective, an experiential wellness brand.

Collaboration
Immersive sound ceremony with live musicians and ambient backing, plus reiki, with Laguna Energy Medicine.
For teams and companies: any of it, brought to your space. Corporate wellness.
What we promise
The team
Humane Design is built by a small group of founders, facilitators, and musicians. These are the people holding it.

Founder, CEO
Scott Welch is a founder, community builder, and experience architect working at the intersection of human connection, embodied culture, and collective healing. A former fashion photographer and nightlife creator who co-founded Club 222, the after-hours dance experience that drew lines down the block and brought Laguna Beach's creative underground roaring back to life, Scott spent years designing spaces where people come alive, before turning his attention to the deeper question underneath: what are they actually searching for when they walk through the door.
Through his own path of deconstruction and recovery, Scott found sobriety, movement, and genuine community to be the catalysts that changed everything. Raised in a high-control religious community in Texas and shaped by years inside California's nightlife scene, he arrived at a simple conviction: the aliveness people chase in dark rooms already lives inside them. As co-founder of Humane Design, he is dedicated to creating sober, embodied experiences that restore presence, dissolve isolation, and give people a place to remember what it feels like to be fully alive.
He is a brother, DJ, photographer, former door-man turned door-opener, dancer, and devoted student of what becomes possible when people stop performing and start arriving.

Founder, CFO
Ory Israel is a founder, facilitator, and systems thinker working at the intersection of human potential, culture, and technology. A former SpaceX leader with a Master's degree from MIT, Ory spent years designing and improving complex systems inside high-performance environments before turning his attention to the most complex system of all: the human experience.
Through his own path of personal growth, Ory found somatic work, movement, and like-minded community to be essential catalysts for transformation. As co-founder of Humane Design, he is dedicated to creating embodied experiences that support connection, self-awareness, and human flourishing at scale.
He is a father, yogi, mer-man, writer, and student of the beautifully awkward process of becoming more human.

Music, Digital
Tristan Palmer is a musician, songwriter, producer, and digital architect with a lifelong devotion to authentic expression. His relationship with music began in childhood, shaped by the records, songs, and discoveries passed down from his father and brother, and grew into a wide musical language influenced by jazz, punk rock, reggae, old school hip hop, and electronic music.
As an artist, Tristan is drawn to the patient craft of building sonic landscapes: chord progressions, melodies, textures, and live moments that open a doorway into presence. His work centers on flow state and in-the-moment expression, using music as a way to translate what is alive in the room into something people can move with, feel, and remember.
Alongside his musical work, Tristan brings deep technical fluency in digital systems, AI orchestration, marketing architecture, and creative technology. Through Swavve and his broader work, he helps build digital landscapes that let companies move with more clarity, rhythm, and intelligence.
At the center of all of it is a spiritual orientation: a sense of purpose around carrying a particular gift, language, frequency, and understanding into the world. Tristan's work is in service of sharing that vibration with people, and learning how to hold it clearly amidst the noise.

Music, Business Development
Weston Bourne is a bassist, producer, music director, and live-sound operator from Orange County with more than 15 years of professional session and live-performance experience. He began playing bass young and was working professionally by 16, building a path through touring, church and local music scenes, session work, jazz clubs, arenas, beach festivals, and the in-between rooms where adaptable musicianship matters.
Through his solo work as WestyB and his jazz/funk/R&B ensemble FlightCrew, Weston moves between dance, groove, disco, funk, jazz, R&B, and live production. Inside PULSE, he brings bass, musical direction, technical steadiness, and grounded stage energy that helps the room feel held while the music stays alive.

Music, Sound Healing
Nadia Sessen is a sound healer, yoga teacher, and facilitator devoted to creating Heart-Centered experiences that support the remembrance of one's divine nature.
She teaches restorative, yin, vinyasa yoga and explorative movement rooted in deep somatic awareness. Her approach is informed by osteopathy-based yoga, biodynamic healing principles and reiki, as well as training in Prana Vinyasa and dance meditation.
She offers private sessions to support vocal, musical and creative expression as well.
Whether in group classes or one-on-one sessions, she holds a luminous field, using her voice and touch as tuning instruments to harmonize the body and soul. With playfulness and caring presence, a warm space is created to hold the heart.
Unravel the Nervous system's protective holding patterns as to access the Natural rhythms, life force, and original matrix of Wholeness within.
Meet the band
PULSE plays new music every event. Written live on the spot.


Vocals, Sound Bowls, Percussion, Ukulele
With a passionate heart, Nadia is devoted to bringing beauty, healing and sensuous joy to the Earth. A singer-songwriter and sound-healer leading with her soul-stirring vocals. She previously played in the band Beautiful Kingdom, winning an Emmy for their PBS episode 'Where Love Takes the Lead.'

Ambient Sounds, DJ, Percussion
DJ, percussionist, dancer, and sonic experimenter. Alchemizing a difficult upbringing from a religious cult in Texas, he brings a unique balance to live creation, purveying the dark and light, soft and scary in poetic story. Scott has used the last 3 years to curate and refine PULSE.

Bass Guitar
Bassist, producer, music director, and live-sound operator from Orange County with 15+ years in session and live music. Weston's playing moves through groove, funk, jazz, R&B, and dance music; outside PULSE, find his solo work as WestyB and his ensemble FlightCrew.

Guitar, Vocals
Songwriter, producer, and guitarist. Performances are a blend of intuitive guitar, soulful vocals, and meditative production designed to guide listeners into a deep state of flow. Find his solo work at tristanpalmermusic.com.

Piano, Vocals
Mack Hubbard is a jazz pianist, photographer, and songwriter whose life has been shaped by music, service, and the quiet courage it takes to start over. Two years into sobriety, Mack brings a depth of presence and hard-won compassion to everything he does, from the keys to his work supporting adults with special needs. His artistry spans multiple disciplines, but it's his warmth and genuine delight in people that leave the most lasting impression. Vibrant, kind, and fully alive to the moment, Mack embodies the spirit of what Humane Design is all about.

Vocals, Live Songwriting, Guitar
Los Angeles-based singer, songwriter, producer, and Pop R&B artist. Rose from the same dangerous cult in Texas to stardom on American Idol. His soulful music promotes hope for those struggling with love, relationships, teen homelessness, abuse, and family issues.

Vocals, Live Songwriting, Flute, Harmonica, Chanting
Vocalist with a background in visual art. From early on, he understood that an artist is not defined by their medium, but by the way they see the world. His work moves through spontaneous expression, with themes of empathy, connection, and cathartic release.

Saxophone, Flute, Etc.
Long Beach born and raised, Brandon is a multi-instrumentalist with 12+ years of classical and jazz training. Drawing from Pat Metheny, Herbie Mann, and Hermanos Gutiérrez, Brandon continues to pioneer his own style of music.
Practices
Every one of these words gets used loosely somewhere. Here is what each one means, what the research does and does not show, and where to read further. Links go to the NIH, peer-reviewed journals, and the professional bodies, not to us.
On the research
These practices are not equally studied. Meditation has decades of randomised trials behind it. Sound baths have nineteen clinical studies in total, and the reviewers who counted them rated the quality as low. Ecstatic dance has one survey.
So we have said which is which. Where something is well established, we cite it. Where the evidence is early, we say early. Where a popular claim is not supported at all, you will find it named here as not supported. That seemed more useful than a page of confident adjectives.
The words
Training attention on purpose, usually by resting it somewhere specific like the breath, a sound, or the sensation of the body. Mindfulness meditation, the most studied kind, emphasises noticing what shows up without arguing with it. It is a skill you practise, not a treatment you receive.
The documented roots are in ancient India, where the Upanishads describe breath control and seated posture and Patanjali's Yoga Sutras name dhyana as one of yoga's eight limbs, with parallel practices developing in early Buddhism. It entered Western clinical practice in 1979, when Jon Kabat-Zinn founded the Stress Reduction Clinic at the University of Massachusetts Medical School and built the eight-week Mindfulness-Based Stress Reduction course there.
Well studied
The best studied practice here. A Johns Hopkins review of 47 randomised trials found moderate evidence that meditation programmes ease anxiety, depression, and pain, with small to moderate effect sizes. Worth knowing: that same review found no evidence meditation beat other active treatments like exercise or medication. It is one good option among several, not a replacement for care.
Deliberately changing the pace, depth, or pattern of your breathing. Breathing is one of the few automatic functions you can take manual control of, which is why slowing it down measurably changes heart rate and heart rate variability. Techniques range from simple slow breathing to faster, more intense protocols.
Breath regulation, pranayama, is the fourth of the eight limbs in Patanjali's Yoga Sutras, with a parallel breath-attention practice in Buddhism. The modern Western forms are recent: Leonard Orr developed Rebirthing in California in the 1970s, and Stanislav and Christina Grof developed Holotropic Breathwork at the Esalen Institute in the mid-1970s, following Grof's years of psychedelic research.
Some good evidence
The mechanism is real and well documented: slow breathing shifts the autonomic nervous system toward its recovery branch. Outcomes are more modest. A 2023 meta-analysis of randomised trials found a small to medium effect on self-reported stress, and its authors explicitly warned against the gap between hype and evidence. Intense breathing protocols can cause dizziness or tingling, and can be difficult for people with a trauma history. Sit out anything that does not feel right.
A group session where you lie down and rest while someone plays sustained tones on instruments like crystal bowls, gongs, and chimes. There is nothing to do. Most people describe it as deeply restful. It is best understood as guided rest with live sound, not as a medical treatment.
Worth being straight about, since the usual story is wrong. Metal bowls have been made across the Himalayas for centuries, mostly as eating, storage and offering vessels. The Tibetan singing bowl as a healing instrument is a twentieth-century Western invention: there is no Tibetan word for a singing bowl, a standard catalogue of Tibetan ritual instruments lists twelve instruments and thirty-six variations with no bowls among them, and the practice enters the record around the 1972 album Tibetan Bells by two American musicians. Real metalwork, genuinely modern practice.
Early research only
We want to be straight about this one, because a lot of what gets written about sound baths is not supported. A 2025 systematic review found only 19 clinical studies worldwide, and rated the randomised ones as high risk of bias. Its conclusion is deliberately careful: singing bowls may have potential to help with anxiety, sleep, and mood. The most quoted study has no control group at all. Claims about healing frequencies, clearing blockages, or specific tones repairing the body are not supported by evidence. What we can say honestly is that people find it restful, and the early research points the same direction.
Free-form dancing in a group, with no steps to learn and no one demonstrating at the front. Typically sober, usually without talking on the floor. Researchers file it under conscious dance, alongside 5Rhythms and Open Floor. There is no governing body and no standard format.
Its modern shape comes from Gabrielle Roth, who developed the 5Rhythms at the Esalen Institute in California through the 1970s. The drop-in format now called Ecstatic Dance started around 2000 at the Kalani Honua retreat centre in Hawaii, where Max Fathom set the template of freeform dance to DJ'd music with no alcohol or drugs, and it reached Oakland in 2008.
Early research only
Almost no direct research exists. A search of the medical literature returns a single study naming ecstatic dance: a survey of 1,003 dancers that found people who practise more often report higher mindfulness and life satisfaction. That is an association in people who already chose to be there, not proof the dancing caused it. Related work on moving in synchrony with others is stronger, but it studied taught, synchronised movement, which is a different thing from a free-form floor.
A partnered, improvised dance form started by Steve Paxton in 1972. Two or more people move together while keeping a rolling point of contact, sharing weight and playing with momentum and gravity. Nothing is choreographed. Its early practitioners deliberately never codified it or created a certification.
Originated by the American choreographer Steve Paxton, who danced with Merce Cunningham's company and helped drive the Judson Dance Theater. He made the precursor piece Magnesium at Oberlin College in January 1972, then presented the form that June at the John Weber Gallery in New York with around seventeen dancers, among them Nancy Stark Smith and Nita Little.
Early research only
Fifty years of practice and a serious body of writing sit behind this form, most of it in dance scholarship rather than medicine. The handful of academic papers are qualitative studies of how dancers read each other and make decisions mid-movement, which is genuinely the interesting question. No clinical trials exist. It earns its place in our events on the strength of the form itself.
Plain description rather than a discipline: a facilitator offers cues and prompts instead of teaching choreography or leaving the room to figure it out alone. In our events it is usually how the first twenty minutes works, moving people from standing still to moving together.
No single origin, and no founder to name. It describes a way of running a room that shows up across many lineages, from early twentieth-century somatic education through Chace's clinical work onward.
A descriptive term, not a studied one
This is a description of a format rather than a named method, so there is no body of research attached to the phrase itself. The nearest studied category is what the NIH calls mind and body practices, covering yoga, tai chi, and dance therapies. Rather than borrow a study about a different practice, we will just tell you what happens: someone guides the room from standing still to moving together, and nobody has to know any steps.
An eight-piece band plays live and unscripted while the room moves. Nothing is pre-recorded and nothing is locked to a setlist, so the music can follow what is actually happening in front of it. This is a community music and movement experience, not music therapy, and no one on our team is working in a clinical role.
Early research only
A band that can hear the room and change what it is doing is a different instrument than a playlist. That is the whole reason we pay eight musicians instead of pressing play. Researchers have studied why moving together to music tends to feel bonding, including work on synchrony and endorphin release, though that work looks at group music broadly rather than at any one band. The wider evidence on music-based interventions is still early. We build it this way because of what happens in the room, and the research points in a direction we recognise.
A credentialed clinical profession, not a style of class. The American Dance Therapy Association defines it as the psychotherapeutic use of dance, movement, and embodied communication. Practitioners hold R-DMT or BC-DMT credentials and work in clinical settings. We are including it because people ask, and because we want to be clear that it is not what we do.
Founded by the dancer Marian Chace, invited in 1942 to work at St. Elizabeths, a federal psychiatric hospital in Washington DC, where her Dance for Communication groups became the basis of the profession. She was named the first full-time dance therapist in 1947, and the American Dance Therapy Association followed in 1966 with Chace as its first president.
Some good evidence
The strongest research on this page. A meta-analysis of 41 controlled studies with 2,374 participants found a medium overall effect on psychological health, though the authors flag methodological weaknesses and wide variation between studies. A separate 2024 review found dance worked about as well as other forms of exercise, not better. Our events are not dance/movement therapy and our facilitators are not dance/movement therapists.
Like dance/movement therapy, a licensed clinical profession. The American Music Therapy Association defines it as the clinical and evidence-based use of music interventions to meet individual goals inside a therapeutic relationship, delivered by a credentialed professional. Practitioners are board certified as MT-BC.
Some good evidence
Real clinical discipline with a real evidence base, and specifically not what happens at our events. If you are looking for music therapy, look for the MT-BC credential.
A hands-on practice where a trained practitioner rests their hands lightly on or just above the body, moving through a set sequence of positions while you lie still and clothed. Practitioners describe the work as supporting the body's own healing response. A session is quiet and unhurried, and asks nothing of you.
Developed in Japan in 1922 by Mikao Usui, who taught it as a personal spiritual practice combining meditation, five guiding principles and hands-on work, before it travelled west and was reframed largely as a hands-on healing method. It is often described as ancient. It is about a hundred years old.
Early research only
The honest summary is that the evidence is thin rather than damning, and those are different things. The NIH states that reiki has not been clearly shown to be effective for any health purpose, that most studies have been low quality, and that results are inconsistent. A Cochrane review of reiki for anxiety and depression found only three eligible trials and concluded there was not enough evidence to say either way, which is a statement about how little research exists rather than a finding that it does nothing. A 2022 review of fourteen placebo-controlled trials found reiki outperformed sham reiki on some measures, though the authors called their own findings inconclusive. What is not in question is that there is no scientific evidence for the energy field reiki is traditionally described as working through. Worth saying plainly alongside that: an hour of quiet, undivided attention and light touch is a real experience, and controlled research on the practitioner relationship itself has found it produces meaningful benefit on its own.
The autonomic nervous system runs the things you do not consciously drive: heart rate, breathing, digestion. It has two branches. The sympathetic branch handles fight or flight. The parasympathetic branch handles rest and recovery. Down-regulating is informal shorthand for shifting from the first toward the second.
Well studied
The underlying physiology is settled, textbook material, and slow breathing measurably shifts it. The vocabulary built on top is looser. Phrases like nervous system regulation and vagal tone come from the wellness industry rather than clinical practice, and dysregulation is not a diagnosis. We use the plain version here because it is more accurate, and because the real physiology is more interesting than the jargon.
The close. After the music stops, the room breaks into small groups, each with its own facilitator asking questions and holding the space, and people talk for fifteen to twenty minutes. Nobody has to speak. People trained in somatic work are on hand if something bigger surfaces. It is the part of the night we are least willing to cut, and the part most likely to be missing elsewhere.
The word comes into modern use through psychedelic practice, where clinicians from the 1960s onward, among them Stanislav Grof, Ralph Metzner and William Richards, built it into their protocols, drawing on ceremonial traditions that had carried the idea for far longer without writing it down. The first extensive academic analysis of integration as a concept was published in 2022, and most scholarship on it has appeared since 2017.
Some good evidence
This is the part of our work with the most research behind it, and the research is more interesting than a simple thumbs up. Frattaroli's meta-analysis of 146 randomised studies found that structured personal disclosure produces small but consistent improvements in psychological and physical health, and that sessions of at least fifteen minutes outperform shorter ones. Crystal Park's review of the meaning-making literature found that the quality of the processing matters at least as much as the quantity, and that experiences left unresolved tend to circle rather than settle. In clinical psychedelic research, Johns Hopkins safety guidelines treat a post-session meeting as standard protocol rather than a nice extra. Now the important counter-evidence: a Cochrane review of fifteen trials found that single-session psychological debriefing after trauma does not prevent PTSD, and in the longest follow-up the debriefed group had more than double the odds of PTSD a year later. The reviewers recommended that compulsory debriefing cease. That finding is about a specific practice: mandatory, one-off, immediately after a traumatic event, focused on recounting while people are still activated. It is the clearest evidence we know of that how a room is closed genuinely matters, which is why ours is voluntary, in small groups, held by a facilitator, with prompts that invite reflection rather than replay, and placed after the music has already brought the room down rather than at the peak. Two honest limits: the disclosure research studies individuals writing privately, not group circles, and the psychedelic work happens in clinical settings with screened participants. What carries across is the shape of the practice, not the setting.
Plainly
Our events are community experiences. They are not medical care, psychotherapy, or a substitute for either. Nobody here is diagnosing or treating anything. If you are managing a health condition, keep talking to whoever is helping you with it.
Everything is opt in. There is no choreography to learn, no touching without consent, and no part of the night you have to do. Sitting against the wall for an hour is a completely legitimate way to attend.
Immersive by design. Human by nature.