After a first day of work in June 2021 at Instants Chavirés to concretely lay the foundations of the Air pressions project, the second stage clearly consisted in collecting recordings of trombone sounds in two types of acoustics: the classic one of a hundred-square-meter recording studio, and the more specific one of a larger reverberant space. In the very good recording conditions that only the GMEM could ideally offer us.

The trombone will play what are commonly referred to as tone pauses, which will go all the way down to the musical low end, i.e. below the piano, and in a register from the most pianissimo to the loudest, up to around 110 db at 1 meter.

Recordings that get as close as possible to the mouth, to the trombone and to the acoustics of the venue will enable optimal use in future work where the acoustic trombone will be confronted with its other points of perception, which will be diffused through conventional PA and other loudspeakers.

"Since mid 2020, I've been working on the trombone. That is to say, resuming the daily practice of the instrument that brought me to music, the trombone, 47 years ago. This work on the breath that becomes sound through a telescopic tube called the bass trombone is a form of return to the roots of what makes sound, in its form, content and projection. I asked Jean-Philippe Gross to join me in disrupting my expectations, amplifying the essential directions and bringing his precision of listening from the point of view of a musician working with electrically amplified sound" Thierry Madiot - September 2021