Timm-Eric Heiland was born on May 21st,1975 in Duisburg, Germany, and raised on the Lower Rhine, where he started being interested in sounds and music from his earliest years. Everything connected to that was questioned and tested. At the age of 11 he started learning how to play percussive instruments such as drums (percussions), timpani, and xylophones at a local musical school. These were followed by concert guitar and electric bass. The latter became his passion. 

In the course of time, he optimized and improved the handling with this instrument in different styles and formations. In the midnineties, after having finished his Abitur, he finally started being interested in electronical music, the computer as an instrument, and its importance and possibilities for producing music. He used the flexibility of these „new machines“ as a supplement to conventional composing.



After completing an internship at a place for audio-visual material in Düsseldorf by the end of the nineties, the conventional composing faded into the background. There he came in contact with the art of scoring of films and commercials of all kinds. Since 1997 until today he gained sufficient experience and practice in different places and therefore as well in complex areas such as advertising, scoring, experimental handling with sounds from nature, technology, and from life, dubbing, audio cutting, and eventually film scoring.

Today, he works as a sound engineer and sound designer with a dedication to the classical trade and its material science as a well from the „old school“.

His love to classical music – isolated from any context - became inflamed in his early years, but was suppressed temporarily by typical juvenile interests. He remembers the phenomenal fire in his parents' living room: Antonin Dvorak. From the new world. Symphony 9. He will always bear this in mind as a musical remembrance. The happening of combining different stylistic and symphonic  similarities  is a real experience concerning its organic performance and therefore is still overwhelming for him.


Nowadays,  he is enthusiastic  about trying to combine classical elements and electronical diversity of sound production in order to accentuate  and intensify animated pictures. He not only tries to create musical minutes and seconds but also refines these; within the meaning of the project  and its intention.

His concept consists of creating new intellectual worlds and to break old ones. These experiments try to breakdown everybody's emotional attainability in order to bring about an effect just where human beings can be emotionally touched. If one is able to generate  musical atmospheres – artificially, naturalistically, favourably, and unintentionally regarding the „listener's“ feelings -, one should create a construct of affinity which makes him accessible or – at least -  feel attracted to it. Even in its simplest form.


Music stays a personal characteristic. Everybody has its very own.

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