JrF: when & why did you become interested in field recording ?
TT: 10 years ago, I started being interested in field-recording following a self-tought process. I was already making music and worked with a small synth ; I became very soon bored with factory settings and wanted to use my own sounds. So, I started to record sounds around me, using a small sampler and a microphone – within the limit of 10 meters between the microphone and the machine...
JrF: how do you use your field recordings in your own artistic output ?
TT: I always considered my recordings as sound-materials for a possible composition, UNTIL I realized – 4 or 5 years ago – that some RAW recordings I made were better just as they were ; without electronic transformations. This fact made me consider them as complete "sound-pieces" and the choice of microphones placement could be a compositional method. So, today, my work is constituted for the most part of field recording based compositions and for the other part of unprocessed recordings which I like to call phonography.
Jrf: are the terms 'music' & 'sound' important to you, either in the way you feel about the sounds you capture and use or in the way your work is viewed by others.
TT: I'm not really concerned in doing something with a "musical" meaning per se or for others. I'm working exclusively via a "listening criterion" ; making something that has a meaning for me (musical or not). But the term "music" is interesting and linked to a tradition, a culture and changes according to places, countries, time... Personally, I love to diffuse experimental musics (mine or others) to a non specialized audience, from different cultures ; it always comes out something interesting. In general, I cannot separate field recording activities from social contexts
JrF: what effect (positive or negative) has the act of making field recordings had on the way you listen to your everyday surroundings and how has it affected the way you listen to other music / sound (if at all) ?
TT: For sure, doing recording as a discipline gives accuracy and makes the listening perception more sensitive ; allowing to focus on every sonic details of the environment, even the more subtle ones. I'm today much more sensitive to music of any genres in live situations because I now take in consideration, more than before, the main acoustic space in which music evolves. In this view I can appreciate (live) some kind of music that I was not really interested in, before.
Thomas Tilly can be found here
may 18th-19th: field recording workshop, malmo, sweden
june 13th-20th: field recording workshop with Chris Watson & Jez riley French, Iceland
22nd june - 2oth august 2013: audible silence: the tate, sleeping and waking' - headphone piece exploring the hidden sounds of the Tate modern building, Tate modern, London
september 6-8th: field recording workshop with jez riley french & chris watson, norfolk, uk - places available
october 4-13th: installation (room tones / littorals), Spazioersetti galleria, Udine, Italy
october 11th: resonant terrain walk, castletown, portland as part of the b-side symposium
december 6-8th: field recording workshop with jez riley french & chris watson, norfolk, uk - places available