Metal Door Tones - contact microphones on a metal door - with Patrick McGinley, Hitoshi Kojo, Fantomas (08:44)

Objects on the Ground - stereo microphones - with Patrick McGinley, Hitoshi Kojo, Fantomas (18:21)

Phone Tower Cables + 250% - contact mics on wires ( 12:28)

Try playing them all together!

Location Sound Films project has to do with a territory that falls somewhere between “performance”, “field recording” and “documentation”. It takes the usual idea of recording sound while adding the component of video. The following sounds and images were recorded simultaneously on a HD video camera. Little or no post-processing was involved other than the adjustment of equalization and sound levels. Various techniques were used to make recordings, some more clearly visible than others, depending on the type of sound captured. The main difference here being the use of a pair of stereo condenser microphones or piezo contact microphones. Location filming has to do with observation and reflection on events in a recored space and time, looking at what induces and affects spontaneous interventions using sound and image as the evidence.

John Grzinich is a mixed-media artist who has worked primarily with sound composition, performance and installation since the early 1990s. He has performed and worked on projects extensively throughout Europe and the US and have published a number of CDs on such labels as SIRR (PT), Staalplaat (NL), Edition Sonoro (UK), CUT (CH), CMR (NZ), erewhon (BE), Intransitive Recordings (US), Orogenetics (US), Elevator Bath (US), Pale-Disc (JP), Digital Narcis (JP), and Cloud of Statics(CH). Currently, he is a project coordinator for MoKS - Center for Art and Social Practice, an artist-run international residency center and project space in southeast Estonia.

John’s interests include acoustic sounds, phonography, found object sounds, sound and performance, film sound, processing and composing acoustic sounds, location sound, site-specific sound installations, collaborative sound actions, environmental sounds, extended tonal and atonal drones.

Since the early 1990s he has explored various approaches to sound generation, recording and production. His techniques range from the construction of original instrument devices and the capture of acoustic phenomenon through environmental field recordings to digital multi-tracking and manipulation. The resulting compositions are often studies in extended evolutionary permutations of a selected set of sound sources. These sources can concentrate on different properties of sound instigation and emination that can range from the textural animation of inanimate objects or an open-air mechanical noise field to overtone resonations from a set of wires stretched across a room.