Just thought for fun I'd start a thread for prepared (or non-prepared) guitarists to list their favorite or frequently used tricks and techniques. One of the ones I've come across lately is a modification of the old "alligator clip on the string" technique - I clip it so it stands up and tap/play the clip itself rather than the string so the clip wobbles back and forth slowly without hitting the adjacent strings... Makes a kind of beating sound that is very nice, and different than the normal "gong" sound one gets from putting metal in the strings. When doing this I mute either side of the playing string for variation. Another technique I find useful in a lot of contexts is preparing the strings with a plastic business card (they force you to take them at grocery stores in the states). I like it because it's a little drier and more muted than metal preparations, but still has some harmonic content. I also pulled the fins off a handheld electric fan and use the spinning center piece directly on the strings and body - depending on how close to the pickup you are, you can incorporate the magnetic sound of the motor as well...
I'm aware than just about every technique has been done many times over, but it's funny how many of us discover the same sorts of techniques through trial and error since there isn't much in the way of decent instructional material or technique lists for prepared guitar... Maybe some of us have blundered into techniques and sounds others of us can find a use for, hopefully!
Edit: actually I just decided to start compiling a manual of prepared guitar techniques for my own use, so if you think of any at all to list here it would be helpful.
Favorite prepared guitar techniques?
Moderator: snailed
-
orangettecoleman
- Posts: 362
- Joined: Fri Jun 12, 2009 8:13 pm
- Location: Mesa, Arizona, USA
Re: Favorite prepared guitar techniques?
do we skip, or include obvious ones that we know of? (ebow, for exaample...)
-
orangettecoleman
- Posts: 362
- Joined: Fri Jun 12, 2009 8:13 pm
- Location: Mesa, Arizona, USA
Re: Favorite prepared guitar techniques?
Oh, including any type of extended technique isn't a bad idea at all. What's obvious to us might not be obvious to a curious person googling extended techniques for guitar, and that's how we get them over the the dark side. Anyway, I took a couple hours to put together all the techniques I could think of and here's the result:
"PREPARED GUITAR TECHNIQUES
1.Techniques for preparing the strings directly
-Objects can be attached directly to strings (paperclips, rubber bands, alligator clips), woven through two or more adjacent strings, or placed between the strings and the neck/body creating a "false bridge". When an object is woven between strings or resting unsecured on adjacent strings, rattling effects and accidental note soundings may occur
-Continuum of preparation objects concerning sound quality-
-Brightest, most resonant, most sustain
Dense, heavy, metal preparations (Alligator clips, Metal utensils, coins, etc.)
Less dense, light, metal preparations (paperclips, foil, wire, springs etc.)
Stone preparations
-Less bright, more percussive, less resonant, less sustain
Wooden preparations (clothespins, wood blocks, pencils, toothpicks)
Plastic preparations (credit cards, pens, straws, plastic utensils)
-Dark sounding, very percussive, little harmonic content, little sustain
Cloth objects
Rubber objects (erasers and so on)
Leather objects
Paper/cardboard objects
Styrofoam objects
-As preparation objects become less dense and lighter (moving down the scale), greater lengths of string in contact with the preparation object will cause the resulting sound to be more percussive and less defined harmonically (for instance, plastic cup lids create a more percussive and less sustaining sound compared to straws woven horizontally across the strings)
-Free-floating preparations will be more resonant and have more sustain generally than those placed under the strings or between the strings and body
-The position of the preparation relative to the pickups determines which part of the sounding string is amplified; preparations placed between two amplified pickups may cause the pickups to amplify both sides of the string equally.
-The position of the preparation relative to the nodal points of the string determine which overtones will be emphasized
-Contact mics can be fastened to the preparation itself
2.Techniques for exciting the strings directly
-Monitor/amp feedback
-Ebow strings on normal playing area
-Ebow strings above nut, behind bridge, false bridge, or preparation
-Tapped harmonics over nodal points on fretboard
-False harmonics (touch and pluck at node)
-Tapping object on instrument body, hardware, or table to excite strings (high gain helps)
-Tapping object or fingers on strings themselves (on normal playing area or behind bridge, false bridge, or preparation)
-Tapping or plucking fretted notes behind preparation or false bridge
-Using movement of pickup switch to set strings vibrating (high gain helps)
-Using electric fan to excite the strings (no contact)
-Using electric fan or other motor to directly contact and excite strings (moving parts contact/bow string)
-Using vibrating mechanism to excite strings through direct contact, contact with strings outside of normal playing area, contact with body, or contact with table to create sympathetic string vibrations (assuming one is using tabletop guitar)
-Tapping/strumming/plucking the preparations on string
a. strum business card woven in strings or excite with motor
b. tap free-floating alligator clip attached to string to set string vibrating, muting strings on either side of preparation as desired
c. allow string vibration to cause non-free-floating clips to rattle/sound notes on adjacent strings
d. Ruler/file/other preparation woven in strings can be struck and allowed to vibrate, creating rattling on adjacent strings
e. Spring or other preparation with its own vibrating frequency can be woven through strings and
struck/strummed/excited, sending object's fundamental vibration as well as string's sound through the pickups
-Traditional Bowing
a. Bowing the strings themselves in the normal playing area, closer to nut or bridge to bring out harmonics, farther away for stronger fundamental
b. Bowing the strings above the nut or behind the bridge (or a false bridge or preparation on string)
c. Bowing the body directly, the hardware, or the preparations directly
-Plastic knife or file used to bow/saw strings (normal playing area, behind bridge, false bridge, or preparation) - Detuning or muting for rattling non-tonal textural sound or allowing strings to sound normally for harmonics/overtones
-A length of cloth or other material (such as magnetic tape) can be woven through the strings and used as a 'bow'
-Slide or other metal object, plastic object, or wood can be used to bow/saw strings horizontally across the strings to excite fretted notes or stop the string and excite notes themselves (following normal continuum of sound quality regarding preparation materials with plastic, paper and wood creating a drier, less harmonic sound and denser materials creating a more resonant overtone-rich sound)
-Objects can be moved vertically along strings to create scraping sounds/excite harmonics/sound fretted notes
- normal-type bowing (roughly perpendicular to strings) with:
rosined wood
rusty metal rods
stretched rubber
sidewalk chalk
- longitudinal bowing on unwound strings a la Ellen Fullman, Brett Larner using...
rubber, rosined objects, hands
-Using the sympathetic vibrations caused by nearby metal objects to excite strings without contacting them (tuning forks, bells). This can also be done with the voice or by a number of other methods; the purpose is to use these source sounds to trigger vibrations in the strings rather than amplify the source sounds themselves, which should remain unheard. Different overtones can be emphasized depending on the position of the sound source along the string length.
-When a preparation contacts two or more strings, one can strike the adjacent string (muted or outside of the normal playing area) to set a string vibrating, changing the character of the attack and possibly adding sympathetic vibrations from the struck string to the overtones of the second string
-A loudspeaker placed in proximity to the strings can be used to excite the strings, while the pickups amplify only the strings sympathetic vibrations and not the original signal from the loudspeakers (assuming the speaker is sufficiently far away from the pickups)
-An object woven through the strings can be bowed or excited with a fan/ebow/other device. Creates a similar sound to exciting the strings directly but with a diminished attack
3.Interacting with the body of the instrument and non-electronic hardware (tuners, bridge, etc) directly to create sounds
-Tapping on the body, hardware, tremolo springs, or pickguard with fingers or objects, audible directly through the pickups because of microphonics or sympathetic vibrations on the muted strings - the continuum of preparation materials also has an effect here (striking the body with a coin produces a sharper, harder sound than striking it with a cloth-covered mallet)
-Using a traditional bow, electric fans, or motors on the body of the instrument, the bridge, or the tremolo springs
4.Interacting with the pickups and wiring system directly
-Devices with electric motors can be used to interact magnetically with the pickups if held in close enough proximity to them
(Cassette players, CD players, Handheld fans, Vibrating mechanisms)
-The terminals of a battery can be touched to the hardware/strings/pickups, in some instances the current may make interesting sounds beyond what one would normally get by preparing with standard metal objects...
-Some other electronic devices which transmit radiation will cause interference or static when placed in close proximity to the pickups
(Remote controls, Cell phones, Fluorescent lights)
-Electronic devices with a speaker will be amplified by the pickups if placed in close proximity to them
(Shortwave radios, Walkmen/Discman/MD through headphones
Any speakers or headphones monitoring the guitar signal will create microphonic feedback)
-Depending on the quality and characteristics of the pickups and volume and tone knobs, certain settings of the pickup selector or knobs may produce 60 cycle hum or audible interference which can be utilized
-Metal objects such as steel wool can contact the pickups directly; sounds can be made through the contact between the two (metal contacting the pickup magnets) or by manipulating/exciting the metal object in contact with the pickup to further explore the sound qualities of the object
-Touching a string or metal hardware when the instrument is not otherwise grounded can cause crackling or static effects
-Using a resonant metal object (bells, tuning forks) over the pickups to amplify the sound of the objects themselves rather than manipulate or excite the strings"
That's all I got, any other ideas to add? Extended or non-standard guitar techniques of any kind are welcome.
"PREPARED GUITAR TECHNIQUES
1.Techniques for preparing the strings directly
-Objects can be attached directly to strings (paperclips, rubber bands, alligator clips), woven through two or more adjacent strings, or placed between the strings and the neck/body creating a "false bridge". When an object is woven between strings or resting unsecured on adjacent strings, rattling effects and accidental note soundings may occur
-Continuum of preparation objects concerning sound quality-
-Brightest, most resonant, most sustain
Dense, heavy, metal preparations (Alligator clips, Metal utensils, coins, etc.)
Less dense, light, metal preparations (paperclips, foil, wire, springs etc.)
Stone preparations
-Less bright, more percussive, less resonant, less sustain
Wooden preparations (clothespins, wood blocks, pencils, toothpicks)
Plastic preparations (credit cards, pens, straws, plastic utensils)
-Dark sounding, very percussive, little harmonic content, little sustain
Cloth objects
Rubber objects (erasers and so on)
Leather objects
Paper/cardboard objects
Styrofoam objects
-As preparation objects become less dense and lighter (moving down the scale), greater lengths of string in contact with the preparation object will cause the resulting sound to be more percussive and less defined harmonically (for instance, plastic cup lids create a more percussive and less sustaining sound compared to straws woven horizontally across the strings)
-Free-floating preparations will be more resonant and have more sustain generally than those placed under the strings or between the strings and body
-The position of the preparation relative to the pickups determines which part of the sounding string is amplified; preparations placed between two amplified pickups may cause the pickups to amplify both sides of the string equally.
-The position of the preparation relative to the nodal points of the string determine which overtones will be emphasized
-Contact mics can be fastened to the preparation itself
2.Techniques for exciting the strings directly
-Monitor/amp feedback
-Ebow strings on normal playing area
-Ebow strings above nut, behind bridge, false bridge, or preparation
-Tapped harmonics over nodal points on fretboard
-False harmonics (touch and pluck at node)
-Tapping object on instrument body, hardware, or table to excite strings (high gain helps)
-Tapping object or fingers on strings themselves (on normal playing area or behind bridge, false bridge, or preparation)
-Tapping or plucking fretted notes behind preparation or false bridge
-Using movement of pickup switch to set strings vibrating (high gain helps)
-Using electric fan to excite the strings (no contact)
-Using electric fan or other motor to directly contact and excite strings (moving parts contact/bow string)
-Using vibrating mechanism to excite strings through direct contact, contact with strings outside of normal playing area, contact with body, or contact with table to create sympathetic string vibrations (assuming one is using tabletop guitar)
-Tapping/strumming/plucking the preparations on string
a. strum business card woven in strings or excite with motor
b. tap free-floating alligator clip attached to string to set string vibrating, muting strings on either side of preparation as desired
c. allow string vibration to cause non-free-floating clips to rattle/sound notes on adjacent strings
d. Ruler/file/other preparation woven in strings can be struck and allowed to vibrate, creating rattling on adjacent strings
e. Spring or other preparation with its own vibrating frequency can be woven through strings and
struck/strummed/excited, sending object's fundamental vibration as well as string's sound through the pickups
-Traditional Bowing
a. Bowing the strings themselves in the normal playing area, closer to nut or bridge to bring out harmonics, farther away for stronger fundamental
b. Bowing the strings above the nut or behind the bridge (or a false bridge or preparation on string)
c. Bowing the body directly, the hardware, or the preparations directly
-Plastic knife or file used to bow/saw strings (normal playing area, behind bridge, false bridge, or preparation) - Detuning or muting for rattling non-tonal textural sound or allowing strings to sound normally for harmonics/overtones
-A length of cloth or other material (such as magnetic tape) can be woven through the strings and used as a 'bow'
-Slide or other metal object, plastic object, or wood can be used to bow/saw strings horizontally across the strings to excite fretted notes or stop the string and excite notes themselves (following normal continuum of sound quality regarding preparation materials with plastic, paper and wood creating a drier, less harmonic sound and denser materials creating a more resonant overtone-rich sound)
-Objects can be moved vertically along strings to create scraping sounds/excite harmonics/sound fretted notes
- normal-type bowing (roughly perpendicular to strings) with:
rosined wood
rusty metal rods
stretched rubber
sidewalk chalk
- longitudinal bowing on unwound strings a la Ellen Fullman, Brett Larner using...
rubber, rosined objects, hands
-Using the sympathetic vibrations caused by nearby metal objects to excite strings without contacting them (tuning forks, bells). This can also be done with the voice or by a number of other methods; the purpose is to use these source sounds to trigger vibrations in the strings rather than amplify the source sounds themselves, which should remain unheard. Different overtones can be emphasized depending on the position of the sound source along the string length.
-When a preparation contacts two or more strings, one can strike the adjacent string (muted or outside of the normal playing area) to set a string vibrating, changing the character of the attack and possibly adding sympathetic vibrations from the struck string to the overtones of the second string
-A loudspeaker placed in proximity to the strings can be used to excite the strings, while the pickups amplify only the strings sympathetic vibrations and not the original signal from the loudspeakers (assuming the speaker is sufficiently far away from the pickups)
-An object woven through the strings can be bowed or excited with a fan/ebow/other device. Creates a similar sound to exciting the strings directly but with a diminished attack
3.Interacting with the body of the instrument and non-electronic hardware (tuners, bridge, etc) directly to create sounds
-Tapping on the body, hardware, tremolo springs, or pickguard with fingers or objects, audible directly through the pickups because of microphonics or sympathetic vibrations on the muted strings - the continuum of preparation materials also has an effect here (striking the body with a coin produces a sharper, harder sound than striking it with a cloth-covered mallet)
-Using a traditional bow, electric fans, or motors on the body of the instrument, the bridge, or the tremolo springs
4.Interacting with the pickups and wiring system directly
-Devices with electric motors can be used to interact magnetically with the pickups if held in close enough proximity to them
(Cassette players, CD players, Handheld fans, Vibrating mechanisms)
-The terminals of a battery can be touched to the hardware/strings/pickups, in some instances the current may make interesting sounds beyond what one would normally get by preparing with standard metal objects...
-Some other electronic devices which transmit radiation will cause interference or static when placed in close proximity to the pickups
(Remote controls, Cell phones, Fluorescent lights)
-Electronic devices with a speaker will be amplified by the pickups if placed in close proximity to them
(Shortwave radios, Walkmen/Discman/MD through headphones
Any speakers or headphones monitoring the guitar signal will create microphonic feedback)
-Depending on the quality and characteristics of the pickups and volume and tone knobs, certain settings of the pickup selector or knobs may produce 60 cycle hum or audible interference which can be utilized
-Metal objects such as steel wool can contact the pickups directly; sounds can be made through the contact between the two (metal contacting the pickup magnets) or by manipulating/exciting the metal object in contact with the pickup to further explore the sound qualities of the object
-Touching a string or metal hardware when the instrument is not otherwise grounded can cause crackling or static effects
-Using a resonant metal object (bells, tuning forks) over the pickups to amplify the sound of the objects themselves rather than manipulate or excite the strings"
That's all I got, any other ideas to add? Extended or non-standard guitar techniques of any kind are welcome.
Last edited by orangettecoleman on Mon Jun 13, 2011 2:16 pm, edited 9 times in total.
-
Dohol
- Posts: 2885
- Joined: Sat May 10, 2008 3:47 pm
- Location: In the heart of the evil empire..
- Contact:
Re: Favorite prepared guitar techniques?
I always liked this one:
I always liked Davey's "Object" guitar concept myself..wind up clocks, cell phones, motorized toys, egg beaters...steel wool.
Otherwise you've put together quite a comprehensive list..
I'll disagree with this one (at least if you're using a preparation made out of iron or steel):
I always liked Davey's "Object" guitar concept myself..wind up clocks, cell phones, motorized toys, egg beaters...steel wool.
Otherwise you've put together quite a comprehensive list..
I'll disagree with this one (at least if you're using a preparation made out of iron or steel):
preparations placed directly over a pickup may cause the pickup to amplify both sides of the string equally.
“In a kind of middle-aged crisis, it dawned upon me that there was a possibility that music might not even be an art form.”
Morton Feldman
http://soundcloud.com/doug-holbrook
Morton Feldman
http://soundcloud.com/doug-holbrook
-
orangettecoleman
- Posts: 362
- Joined: Fri Jun 12, 2009 8:13 pm
- Location: Mesa, Arizona, USA
Re: Favorite prepared guitar techniques?
You're right about that, now that I think about it. I'll revise that one. I'll also look up some Davey Williams videos to see if I can get any new ideas, I forgot about him.
Re: Favorite prepared guitar techniques?
more bowing.....
- normal-type bowing (roughly perpendicular to strings) with:
rusty metal rods
stretched rubber
sidewalk chalk
- longitudinal bowing on unwound strings a la Ellen Fullman, Brett Larner using...
rubber
rosined objects, hands (??)
- normal-type bowing (roughly perpendicular to strings) with:
rusty metal rods
stretched rubber
sidewalk chalk
- longitudinal bowing on unwound strings a la Ellen Fullman, Brett Larner using...
rubber
rosined objects, hands (??)
-
Dohol
- Posts: 2885
- Joined: Sat May 10, 2008 3:47 pm
- Location: In the heart of the evil empire..
- Contact:
Re: Favorite prepared guitar techniques?
I used to thread a long, flat metal kebab skewer through the strings above a pick up (middle pickup preferred..) and either stroke it with a super ball mallet or bow it with either a violin bow or a rosined wooden dowel.
It would produce incredibly low tones...Beware your speakers.
It would produce incredibly low tones...Beware your speakers.
“In a kind of middle-aged crisis, it dawned upon me that there was a possibility that music might not even be an art form.”
Morton Feldman
http://soundcloud.com/doug-holbrook
Morton Feldman
http://soundcloud.com/doug-holbrook
-
Dohol
- Posts: 2885
- Joined: Sat May 10, 2008 3:47 pm
- Location: In the heart of the evil empire..
- Contact:
Re: Favorite prepared guitar techniques?
The only other thing I could say (other than..Styrofoam..) is that it's really a mistake to get too carried away with preparations.. I mean, one string and one alligator clip is quite a lot of territory. Depending on where the clip is and how the string is attacked you can get a universe of sound from just those two things..
I see people clipping and threading a hardware store (DIY shop) worth of stuff onto their strings and I wonder "how do they keep track of it all?".
I see people clipping and threading a hardware store (DIY shop) worth of stuff onto their strings and I wonder "how do they keep track of it all?".
“In a kind of middle-aged crisis, it dawned upon me that there was a possibility that music might not even be an art form.”
Morton Feldman
http://soundcloud.com/doug-holbrook
Morton Feldman
http://soundcloud.com/doug-holbrook
-
orangettecoleman
- Posts: 362
- Joined: Fri Jun 12, 2009 8:13 pm
- Location: Mesa, Arizona, USA
Re: Favorite prepared guitar techniques?
I'll add your ideas to the list. Hadn't occurred to me to try rubbing the plain strings. I also had never heard of super ball mallets until now. I do have rosin for my cello bow, so I'll give rosined wood/fingers a try. I agree that people can get carried away with having a million different preparations. I don't keep something in my box unless it makes a unique sound and I don't like having to sort through a half dozen things that sound the same... I'm not sure what purpose dropping rubber balls on the strings serves sound-wise that can't be done with erasers or any number of other things. Sometimes I think people approach prepared guitar as some kind of exercise in conceptual performance art rather than a way of making music.
Last edited by orangettecoleman on Sat Jun 26, 2010 12:57 am, edited 1 time in total.
-
orangettecoleman
- Posts: 362
- Joined: Fri Jun 12, 2009 8:13 pm
- Location: Mesa, Arizona, USA
Re: Favorite prepared guitar techniques?
I also added these:
"-Using the sympathetic vibrations caused by nearby metal objects to excite strings without contacting them (tuning forks, bells). This can also be done with the voice or by a number of other methods; the purpose is to use these source sounds to trigger vibrations in the strings rather than amplify the source sounds themselves, which should remain unheard. Different overtones can be emphasized depending on the position of the sound source along the string length.
-Using a resonant metal object (bells, tuning forks) directly over the pickups to amplify the sound of the objects themselves rather than manipulate or excite the strings"
"-Using the sympathetic vibrations caused by nearby metal objects to excite strings without contacting them (tuning forks, bells). This can also be done with the voice or by a number of other methods; the purpose is to use these source sounds to trigger vibrations in the strings rather than amplify the source sounds themselves, which should remain unheard. Different overtones can be emphasized depending on the position of the sound source along the string length.
-Using a resonant metal object (bells, tuning forks) directly over the pickups to amplify the sound of the objects themselves rather than manipulate or excite the strings"
-
Dohol
- Posts: 2885
- Joined: Sat May 10, 2008 3:47 pm
- Location: In the heart of the evil empire..
- Contact:
Re: Favorite prepared guitar techniques?
“In a kind of middle-aged crisis, it dawned upon me that there was a possibility that music might not even be an art form.”
Morton Feldman
http://soundcloud.com/doug-holbrook
Morton Feldman
http://soundcloud.com/doug-holbrook
Re: Favorite prepared guitar techniques?
Just registered today. Has anyone (here) ever prepared a banjo?orangettecoleman wrote:What's obvious to us might not be obvious to a curious person googling extended techniques for guitar, and that's how we get them over the the dark side.
Re: Favorite prepared guitar techniques?
Mike Marlin in Seattle does thatMidnoon wrote:Just registered today. Has anyone (here) ever prepared a banjo?
You, of all people, should understand
Re: Favorite prepared guitar techniques?
Paul Metzger (St. Paul) does that.
http://crowwithnomouth.wordpress.com/
Experimental music should be something that suggests a way of organizing your thinking, your attitude toward the world, which suggests that the world could be different.
Christian Wolff 2014
Experimental music should be something that suggests a way of organizing your thinking, your attitude toward the world, which suggests that the world could be different.
Christian Wolff 2014
Re: Favorite prepared guitar techniques?
Awesome. Really fascinating video on his main page, seems very Indian in influence. His banjo is so heavily modified and it doesn't seem like he really prepares it. I'll look in to him more though. I love the sound of prepared acoustic instruments.Jesse wrote:Paul Metzger (St. Paul) does that.
Re: Favorite prepared guitar techniques?
Could not find him at first, but turns out he is part of "Dubious Duo," which I found a MySpace page for. Seems he's in Sacramento now. Wish I could find some videos for inspiration. Thanks!faster wrote:Mike Marlin in Seattle does thatMidnoon wrote:Just registered today. Has anyone (here) ever prepared a banjo?
Re: Favorite prepared guitar techniques?
Two questions:
1. Does anyone have any experience with friction mallets working on a guitar? Or just solid metal/glass surfaces?
2. What sort of electric fan might I want to buy in order to excite the strings on my guitar or banjo?
1. Does anyone have any experience with friction mallets working on a guitar? Or just solid metal/glass surfaces?
2. What sort of electric fan might I want to buy in order to excite the strings on my guitar or banjo?
Re: Favorite prepared guitar techniques?
He's blind, so pretty sure he doesn't do videos, and even back in Seattle he just wasn't around and visible very much. Really sweet guy.Midnoon wrote:Wish I could find some videos for inspiration. Thanks!
You, of all people, should understand
-
Dohol
- Posts: 2885
- Joined: Sat May 10, 2008 3:47 pm
- Location: In the heart of the evil empire..
- Contact:
Re: Favorite prepared guitar techniques?
Midnoon wrote:Two questions:
1. Does anyone have any experience with friction mallets working on a guitar? Or just solid metal/glass surfaces?
yeah, you can get pretty amazing sounds..(I make them myself with superballs and wood skewers).. rubbing the strings not only excites the strings, but also alters the pitch as the mallet is dragged along the length of the string..
using them on the body of an acoustic guitar is fun as well..
in the States, you can buy little battery powered handheld fans at Wallmart.. (electric tooth brushes work as well)2. What sort of electric fan might I want to buy in order to excite the strings on my guitar or banjo?
“In a kind of middle-aged crisis, it dawned upon me that there was a possibility that music might not even be an art form.”
Morton Feldman
http://soundcloud.com/doug-holbrook
Morton Feldman
http://soundcloud.com/doug-holbrook
Re: Favorite prepared guitar techniques?
Sell it to buy more pedals 
One of my favorite early Cementimental recordings was gameboy played thru headphones into the strings/pickup.
A while back I got one of these vibration-based portable ipod speaker things, haven't done much with it but I think it could be useful stuck on a guitar: http://store.bandmerch.com/wowee/wowee-one-pro.html
One of my favorite early Cementimental recordings was gameboy played thru headphones into the strings/pickup.
A while back I got one of these vibration-based portable ipod speaker things, haven't done much with it but I think it could be useful stuck on a guitar: http://store.bandmerch.com/wowee/wowee-one-pro.html
http://www.cementimental.com - harsh noise • circuitbending • rough music
http://www.transientconstellations.co.uk - London music/noise/events/label
http://www.transientconstellations.co.uk - London music/noise/events/label