This is amazing! And what an excellent one-minute-20-seconds video!

Very nice sound. Like a bell, bu tmore in tune than a bell. Almost a chord in a single note. Wonderful!

Interesting setup. Maybe you can show the setup with a photo showing the microphone- and the speaker-position to get an idea how the feedback works. And what is the cable for that is fixed on the right hand of Kate? Thank you for eyperimenting with sound.

cool!

What the hell is the point of this??

Where can i get these type of Instruments? :)

RICK GRIMES???

Thank you Scott

Yes.

class. this thing looks crazy

All that kit and we're given the crap mic feed to listen to!

The older 90's - 2000's rack EQs are underrated! Try putting the 2x 31 band before and after a distortion pedal for an insanely tweakable experience.

Gorgeous music

Wheeeee

you make ufo sounds with your guitar

yes.

Absolutely lovely bit of playing, guys. I really like the combination of gentleness and tension. More of this sort of thing!

woo, I'd listen to this album

bagus sekali

This sounds A LOT like Merzbows Flare Gun Pt 1 kzbin.info/www/bejne/ZmGoqIyJg5qNp80

The problem I have with feedback is its very slow build-up or delayed response, there's no sudden moves possible there, or is it? I think musical environment here, through which performers move & trigger feedback(s) nearly beyond their control, a wake of sound caused by their making sound...if I make any sense here.

Things you may find interesting or have already encountered: The pickup choice can greatly influence the feedback pitch; a neck pickup will find lower pitches to begin with due to lower harmonics being more prominent while selecting bridge pickup will both start with higher frequencies and at the same time take longer to get going, much like using an ebow on the bridge pickup. Obvious stuff like depressing the tremolo arm causes some nice shifts if done subtly but is the most overused effect ever, Hendrix, Dave Gilmour etc etc etc.. However my favourite trick with feedback is acoustic coupling, where one finds a sweetspot similar to what your're doing here, and then play a note, if you get it right, instead of just feedback you can get what feels like endless sustain of that note, without obvious feedback. Old track done back in the day by Peter Green, Clapton, and especially Carlos Santana. What I used to was during soundcheck before gig Id find the sweet spot by proximity then put an X on the floor where I stood, when I came to play a solo Id stand there and the guitar would just sing.......x

Yes.

Hi Scott I did receive the preparations and there are some interesting multiphonics, I look forward to playing your new piece with QME! I tried putting two on, between the c& g plus g&d. The g string then has extra multiphonic experiences. They are quite wide and stretch my strings a little too much. The narrowest one is fine. Thanks!

did you say "twikky swickes"?

most enjoyable

...opening the register key alongside either of the drilled holes (or just the normal multiphonic) does what you'd expect, it raises the lower pitch by 1-2 semitones. The confusing thing is that normally that only works in the chalumeau register, but the low tones from the drilled holes are going up to E/F5 (transposed), way above the break out of the chalumeau. So the additional holes are messing with the size/limit of the chalumeau register maybe?

Wow, hearing all aliquotes/overtones!!

Great stuff! What kind of E-bow is that? I haven't seen that one before.