Entrevista: La escucha atenta

Cuestionario realizado por Juanjo Palacios (prolífico fonografista y artista sonoro) para su blog La escucha atenta.

El cuestionario se está realizando a diferentes artistas sonoros de la geografía española y latinoamericana. De momento se pueden leer las respuestas de Juan Antonio Nieto (Pangea), David Vélez, Adolfo Corts, Carlos Suarez y Manrico Montero, entre otros.

Foto: Jazznoize, Juan Antonio Nieto, Durán Vázquez.

Festival Experimentaclub 2009



Un comentario en “Entrevista: La escucha atenta”

  1. 1) What are your favorite places for field recordings?

    I had many favorite places, and some of them are close and not far from my surroundings. Usually the best recordings are usually of a pleasant and comfortable places, but the truth is I have no preferences when choosing a place to record sounds. Except in a few places “intoxicated” I like to explore beyond the sounds that normally see in cities and towns, although this does not mean that the most interesting sounds are the distant and exotic jungles or forests. I love many of these works on exotic (for us) but are not the panacea for anything. We are children of our age, we live in capitalist times and we can not rule certain sounds escape prevailing in the geographic locations of high density. There is no best and worst places to record. Rezacho fully the idea a little hippie and expires on phonographs in the early seventies, mainly whites, which degenerated, some of them in research practice close to new age and ambient soundscapes and more cheesy.

    The world around us is, in my view, the main musical instrument, and my dedication, respect for sonic research is (to some extent) the game sounds.
    Sounds “internal” generate some artifacts, concrete buildings and common areas usually give a good result for what I want. By this I mean not always act passively waiting for “something.” At some point I was interested for a particular job, capturing sounds, work and subject to a primitive idea. I guess this is the result of some direct influence of the practice at other times of political struggle.
    While many disapprove, the ideology is determined by (eventually) everything.

    2) Can you describe, as far as possible one of your favorite soundscapes?

    Some of them belong to different canneries in the region of Murcia. The power of sound is brutal, and in these places, what happens is that even before setting up and subsequent processing of sounds, is entering a phase beyond our first auditory perception, which is in a phase surface and bottom: the senses. In these factories not only the symbiosis between the sounds generated by mechanical and workers captivates me, but the interrelationship between the various undertakings of an industrial estate, outdoor areas and places “dead” and transit between them, generate a sound climate “living.” Not explain it but it’s as if we were biologists and study a unique ecosystem extinction. The result some of these recordings were edited into a compilation based on a project led by Francisco López. http://www.youtube.com/watch?v=AHiYkrBQs1c
    They are also very bright sounds captured in abandoned places, places where there ghost in the not too distant a great economic and social activity: abandoned mines, railway stations and unused secondary, etc.

    3) Is there a sound or set of sounds that you find particularly attractive?

    I will not be original, I like the sounds of metal, water and dominated by the wind. As for the sounds of natural environments, almost always use more material recorded at the night. The night sounds are more specific and subtle, the silence is the protagonist and that attracts me. And the practice I’ve noticed that there is much movement or activity in the night sound isolationist more than we believe.
    Not many months ago I made some great recordings in a company that manufactured concrete pipes giant (well, of different sizes). The recording inside the tubes alter the sound environment in an exceptional way. Material that has served me well for some production, not yet published.
    For a long time I was fascinated by the repetitive sounds, natural and artificial loops modified by a small, old sampler. These rhythmic sounds themselves, born of pure trance are very important for my work as a sound artist and have long structured part of my work at the conceptual level rather than aesthetic.

    4) What equipment (recorder, microphones, accessories …) use to make your field recordings?

    Only a Zoom H2 recorder, and sometimes a contact microphone.
    The next purchase will hydrophone. I go to the Mariana Trench! Hahaha.

    5) What equipment and software you use in your studio for editing the audio from your recordings?

    Only a very old program called Magix Audio deLuxe 2003!
    Currently road paths where the technological influence in the creative process is much less, where you can pay in full swing across the total sound equipment, the real world, which is arguably the most sophisticated musical instrument. This extends also the answer to the question above.

    6) Do you use your field recordings for sound compositions and / or musical?. Can you briefly explain how you do it? <

    Investigate on sounds captured. Remakes, transformers, and sometimes not edit, I leave as is. Almost always depending esthetics. For me, the main thing is the selection of sounds. At certain times only interest me very specific sound, regardless of origin, so most times. I play a lot with layers of sound and "washed" and filters. For me, the EQ is very important, we can draw an analogy between this and what it means for mounting film (Soviet). Consciously attempt to minimize as much as possible the impact of technological intervention in both the sonic capture process and in the subsequent editing process. Because of course, any progress in the evolution of instrumental work that forms a more important influence on the outcome of a sound work, which for now does not interest me because, in my view, determine the finish of a piece. Attempt to escape the explicit symbolic representations. I mean those sound or visual representations are always trying to explain reality, but without admitting that only a part of reality, presenting their subjectivity as absolute and immutable truth. Increasingly, it expands in the world of experimental music sound dispersion caused perhaps by an interpretation that is at the same sound without the courage and strength that by itself already has. Sometimes some productions (compositions) need some rest, returning later to a new listener that determines whether to make changes or introduce new elements of sound. Each piece is different, some need to stretch all the compositional process and other interval between recording and final editing is minimal. I explain that my music education has been academic, Conservatory, mainly in the early years of my life, and discarding outdated and castrating all of that world, I have occasionally used some theoretical knowledge to apply to the sound research, but never decisively and that academics (including some "mental oldies" from the world of electroacoustic) fails or even to glimpse the true power of sounds, something that goes beyond what is currently known as music. And I mean relative to the election, overlapping and blending of sounds.

    7) What personal and collaborative projects have to be associated with the phonograph?

    Apart from my project under the alias Jazznoize, other side projects (and now long dead). I recorded an album of music with a guitar based on experimental and shoegazer sounds isolationist. The project is called Dose. Another project is aimed at political activism and social acousmatic. Under the name of Mao Sound System will be published shortly several pieces oriented social criticism and complaint, a seal (a netlabel to be called Micropolitics) specially dedicated to this type of work. The first is about the strikes in Greece because of the "rescue" the vampire of the European Union and the IMF. I have performed unevenly rearrangements and remixes of other artists, something I considered very interesting and not at all minor. The last remix was on a work by Jean Montag. With my own name (Sergio Sanchez) I will dedicate myself to produce raw material, without processing sound, which sounds are home owners sound aesthetic. I have also recorded an album with rock musicians a soundtrack of the film Haxan, and also worked with Antimanierista Trio (Madrid improvisation group) and the poet Irene La Sen, releasing an album entirely based sound poetry in one poem. Now I'm finalizing the publication of two papers, one on the mascletàs of the city of Valencia in Fallas and another full fury on the movement 15M.

    8) Do you have any comments you would like to add?

    Just thank you for the work you are doing to promote the work of sound artists, researchers, sound, experimental musicians. It is very important to create a network or something similar that allows to know. Taking advantage of the space you have given me in listening attentively, I would invite any musician, "artist" sound, netlables manager, etc, on the national scene to participate actively in a facebook group (Iberian Republic noisy) was born with an idea like this series of interviews to publicize each other, coordinate and bring together an almost invisible scene without a lot of infrastructure but with great artistic level nothing to envy to foreign projects. And that can not be wasted any longer. Some musicians not known, and that must be changed. That bloom 100 blogs, groups, websites! Therefore it must be stressed diffusionists such excellent projects as yours. Thank you very much for all Juanjo.
    Leer fonéticamente
    ¡Nuevo! Haz clic en las palabras que aparecen arriba para ver traducciones alternativas. Descartar

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