Infrasonge : A Sonic Journey from ASMR to Contemplative Soundscapes

Originally published on ASMRYouReady.com (site no longer active). Reposted for archival and cultural purposes.

By Diego Garro — March 25, 2016

Almost forgotten gems occasionally appear within the vast landscape of ASMR creators. Among them is film composer and sonic artist Jonathan Fitas, whose project Infrasonge sits deliberately at the fringes of the genre. His YouTube channel never chased virality—most videos gathered only a few hundred views—but those who listened discovered something uniquely intimate and meticulously crafted.

Though built on ASMR’s codes of immersion and attentive listening, Infrasonge pushes the format into something deeper: sound as atmosphere, as architecture, as contemplative space. Each video features a slow-moving, smoke-like visual while layers of recorded sounds—never pure synthesis—are shaped into immersive, spacious compositions.

Listeners often describe the experience not as sounds coming toward them, but as being inside the sounds themselves, as if exploring a resonant interior world. Infrasonge encourages both relaxation and contemplation: paintings with sound, made of fuzzy bass textures, delicate crackles, distant waves and microscopic details recorded extremely close to the microphone.

Below is the full interview originally published on ASMRYouReady.

Interview

How did you first encounter ASMR—both as a personal experience and as online content?

Infrasonge:
My first ASMR experience goes back to childhood. I don’t remember everything clearly, but I recall moments—like when my father taught me math. His dedication and passion did the trick.
I’ve never felt strong tingles watching online ASMR, but I found the videos soothing and captivating. One thing I love is the immersion—not only through binaural techniques, but through duration. ASMR videos often take their time, and that’s amazing to me. This led me to research ASMR during my Master’s degree and ultimately to experiment with it through Infrasonge.

How do you relate to the ASMR creator community?

Infrasonge:
The ASMR community is wide and open to experimentation. That’s why I started creating content—it’s a welcoming space, willing to listen and discover new things.
The keyword with this project is experimentation, without creative restraints, bringing knowledge from sound design and audio mixing that I developed through University studies and work as a film composer.

Did you consciously adopt ASMR-type materials?

Infrasonge:
Not really. I naturally focus on sounds that please my ear. I don’t ask myself whether something is an “ASMR kind of sound.” ASMR relies mostly on listening and transmission rather than specific materials.
Some sounds have become iconic thanks to certain creators, but as experience shows, any sound—quiet or loud, high or low—can trigger ASMR.

What role does the microphone play in your creative process?

Infrasonge:
A leading role. I record something every day. Most sounds I use are captured through microphones; I use very few electronically generated sources. Even sounds that seem synthesized often originate from recordings.
I love this because recordings have unpredictability and liveliness that are hard to replicate with modern synths. And I’m a sound geek—I just love manipulating recordings.

Your compositions are spatially rich. How do you build ambience, location, and movement?

Infrasonge:
It depends on the material. I record mostly close-proximity because I don’t like the room acoustics in my studio—I eliminate ambience and add artificial reverb later to play with distance.
For movement, I use binaural and surround processors, which give endless narrative possibilities for spatial design.

What artistic or technical influences can be heard in Infrasonge?

Infrasonge:
I try not to work with references in mind, since my other projects already require that. But I often return to Jon Hopkins.
Luc Ferrari’s Presque Rien n°2 isn’t far either.
As a listener, I’m very impressed with Dmitri from MassageASMR—his dedication is incredible. He built a whole studio for ASMR videos! His craftsmanship encouraged me to experiment within this genre.

What’s your creative approach? Do you follow a plan?

Infrasonge:
Usually it all begins with the desire to record and play with sounds. I don’t start a new piece until a few sounds catch my ear. It’s like having new toys—I just play with them for hours.
Once I have that spark, I start building. I think in layers and distances: some sounds extremely close, almost touching the ear; others far away, giving space and a stage for sound to travel.
You can find clues in the titles. For #5 Rainfall, I had worked on two ideas for weeks—the rain texture and a piano sound—without knowing where they would go. Eventually I combined them and focused on spatial writing to create a narrative between the two.
It’s all about trying, re-trying, doing, undoing, and doing again until the structure feels right.