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Tibetan multi-phonic chanting has its own characteristic sound, which has been compared to the Australian Digeridoo or resonance of a drum.  Comparisons have also been made about the “One Voice Chord” of Tibetan chanting and the Hoomis style found in Mongolia.  This is natural since these two traditions are foremost in their use of harmonics as an integral part of their sacred sounding.  The “Kargiraa” style of Mongolian overtone chanting is characterized by an extremely low fundamental pitch sung with much resonance deep in the chest.  Using vowel sounds, singers produce the low pitch and create harmonics two and a half to three and a half octaves above that note.