HERE I AM

I live in Sulejówek. I have a dog, Teodor (a mutt/dachshund mix). I collect cassettes and CDs. I can't afford vinyl.I have accounts on BANDCAMP and YOUTUBE. If you're interested, check them out below.

MUSIC RECOMMENDATIONS

FIELD RECORDINGS

I find, record, store, and edit strange sounds coming from even stranger places.Below are some photos from my audio expeditions and a brief presentation of the equipment I use.Currently, I'm most interested in contact microphones and hydrophones.

MY PROJECTS

MY PHILOSOPHY

PROJECTS
MY APPROACH
KNOWLEDGE DATABASE

PROJECTS

CHTONOPHONE RECORDINGS
GÖTEBORG RECORDINGS
DUCKS ON ICE ARE BURNING A HOLE
ON THE WAY TO THE FIVE PONDS AND BACK
VARIOUS SOUNDS FROM ALL OVER THE WORLD VOL. 2
VARIOUS SOUNDS FROM ALL OVER THE WORLD
KROSNO STREET RECORDINGS

CHTONOPHONE RECORDINGS

BUY ON BANDCAMP

My newest field recording project is...otherwordly. Ok, so let's start from scratch.The "Mel's Hole" story from Art Bell's legendary radio show has a Polish equivalent. Workers dug into a hole in Sulejówek, near Warsaw. According to some people (including a well-known city councilor, whose Facebook post about the subject was mysteriously deleted) it is a portal to another world.Local residents threw all sorts of things into it: from old tires or household appliances to the remains of their deceased pets. These objects disappeared into the depths of the mysterious hole. No one has ever heard them hit the bottom, and all electronic instruments became useless near the hole. An attempt made by the local fire department to get to the bottom with a camera attached to a 100-meter cable, was a failure.Under the cover of darkness, I broke through the sanitary cordon and threw a Chthonophone attached to a drone into the hole. This experimental microphone, entirely of my own design, opened up an audio-sphere of reality to which the mysterious hole in Sulejówek leads.There are people there, animals, wind, the sounds of moving vehicles. Perhaps something that resembles industrial infrastructure. But everything sounds different as if it was "incomplete", more in the lower frequencies. Over time, the Chthonophone began to go haywire. The ambient sound and the rustle of trees began to disintegrate in my ears. I don't know if it's the equipment's fault or the nature of that world. But I know one thing: I want to get there someday. Not just sonically, but physically. I would like to present these one-of-a-kind, raw audio recordings to you.

BUY ON BANDCAMP

MY APPROACH

My field recording practice is shaped by curiosity, minimalism and a deep interest in the raw, unpolished qualities of sound.I don’t chase expensive “industry-standard” tools or try to build a professional studio in my backpack. Instead, I focus on transparency, movement and listening — on being present in real environments rather than managing complex gear.This mindset owes a lot to the artists who shaped my taste: Chris Watson’s precision, Cabaret Voltaire’s grit, the adventurous spirit of krautrock (Can, Faust), the energy and discipline of The Fall, and the tape-driven chaos of Aaron Dilloway. All of them taught me that sound matters more than the equipment used to capture it.

Principles I Follow

1. Less Gear, More Listening

The fewer tools I carry, the more attention I can give to the world around me. Heavy, complicated setups get in the way of intuition. I choose lightweight, reliable devices that let me move quickly and work quietly — tools that support listening instead of replacing it.

2. High Quality, Low Complexity

I’m not interested in owning every new “pro” recorder or flagship microphone. What I want is gear that delivers clean, transparent results without turning field recording into engineering. Minimal menus, robust design, no unnecessary features — just solid sound.

3. Minimal Processing Philosophy

My approach to editing is guided by restraint: subtle EQ, gentle crossfades, careful gain staging. I avoid heavy processing or “fixing it in post”. If the recording doesn’t sound right, I prefer to re-record it. Authenticity trumps polish.

4. Independence Over Professionalism

I’m not a commercial sound designer, and I don’t run a sound effects business. I don’t need Mix-Pre, MKH mics or large rigs, because I’m not paid to meet industry expectations. This independence is liberating: it lets me explore, experiment and stay close to the DIY ethos that shaped me — from punk to noise to early industrial music.

5. Experimental Roots Instead of Industrial Standards

My background is rooted in experimental music, tape culture and exploratory sound. Cabaret Voltaire, krautrock, Aaron Dilloway and even The Fall taught me to value texture, imperfection, risk and immediacy over technical purity. My field recordings have evolved recently into physical release on my own imprint - Chtonophone Recordings - where DIY production is part of the aesthetic rather than a limitation.

My Gear Journey

I started with a Zoom H1n and later the H5 - simple, accessible tools that taught me the basics. Over time, I moved toward compact, specialised equipment: the Zoom F3 and experimental microphones from LOM, FEL Communications, Aquarian Audio and Metal Marshmallow.Currently, I’m considering the Zoom F6 for more immersive setups — six XLR inputs would allow me to layer EM272s, hydrophones and contact mics simultaneously, expanding my ability to capture complex environments in a single take.Of course Handheld recorders have their place — they’re perfect for beginners learning mic discipline, noise control and avoiding clipping. I used them myself. But for serious work, I avoid them. They’re bulky, easy to bump, and limit microphone flexibility. I prefer modular, hands-free setups that let me work with space more deliberately.

KNOWLEDGE DATABASE

A list of the most interesting online sources about field recording. From honest gear reviews and recording techniques to philosophical reflections on the very nature of sound itself.