Information AboutGuitarchitecture |
|
The basic idea behind Guitarchitecture was contextual and process based. In the context of "new guitar technology" the opportunity to "expand the guitars sonic vocabulary" became possible. The Roland GR 500 Guitar/synthesizer allowed "partial" - " infinite sustain". This suggested a move away from playing techniques associated with traditional magentic electric guitar pickups such as feedback based sustain. It allowed for a process that radically altered the temporal qualities of guitar string vibration. This rendered certain traditional electric guitar techniques somewhat useless. A new and different process for composing with a guitar became necessary as the instrument now could sustain notes and chords almost "infinitely". This radically altered the nature of the music that could now be conceived and rendered from a guitar. These conceptual ideas were hovering in the background but gaining strength while touring live with a GR 500 Guitar Synth with Lou Reed 1978-1980. The ideas and concepts surroundng Guitarchitecture were already beginning to take shape in Santa Barbara CA. 1976. While working with Lou Reed I began to record a series of experimental Guitar Synth multi tracks for RCA, Epic, and Atlantic Records. These early Guitarchitecture soundtracks were eventualy sent to David Bowie in an effort to raise their profile. They came to fruition while recording the four layered Guitar Synth tracks on " Ashes To Ashes ", for David Bowie 's album. Scary Monsters (and Super Creeps) released in September 1980 by RCA Records . |
|
|