| The Techniques | ||||||||||||||
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G P Hall has devised many of the techniques himself, his music is a mixture
of Flamenco, Rock and Avant-Garde. GP also draws inspiration from the more usual classical, jazz, and improvisation. Flamenco patterns played on a 6-string bass, electric blues (industrial style), sound-scapes, classical, minimalist, and Industrial Sound Sculptures all form the basis of the rich, multi-layered sound that is unique to G P Hall. Industrial Sound Sculptures The phrase 'Industrial Sound Sculpture' is one that Hall coined over 25 years ago and he is credited with the distinction of spear heading this particular sound. Many reference books refer to Hall as the principle architect and originator of this incredibly diverse and unique style of music. "sound sculptures because I use stereo sound created by using 2 150 watt Carlsbro keyboard combo amps fitted with 300 watt Black Widow speakers in each cabinet + a Line 6 AX2 212 250 watt stereo combo. I work with 3 different sets of digital delays. I create the volume required and layer the sound with 2 foot volume controls mixing the sounds I make (using the above implements), in real time, layering the sounds one on top of the other, listening to what sound I have created/layered first with one digital spread, then layering another sound on top of the sound already made. The sound is huge wide-screen and dramatic. It would be like mixing two record decks together mixed with industrial noise, except I also have to create the music and sounds instantly, and mix it at the same time, its a organic, and living on the edge gut wrenching, emotional mix, that can leave the audience changed forever." The phrase 'Industrial Sound Sculpture' is one that Hall coined over 25 years ago and he is credited with the distinction of spear heading this particular sound. Many reference books refer to Hall as the principle architect and originator of this incredibly diverse and unique style of music. "sound sculptures because I use stereo sound created by using 2 150 watt Carlsbro keyboard combo amps fitted with 300 watt Black Widow speakers in each cabinet + a Line 6 AX2 212 250 watt stereo combo. I work with 3 different sets of digital delays. I create the volume required and layer the sound with 2 foot volume controls mixing the sounds I make (using the above implements), in real time, layering the sounds one on top of the other, listening to what sound I have created/layered first with one digital spread, then layering another sound on top of the sound already made. The sound is huge wide-screen and dramatic. It would be like mixing two record decks together mixed with industrial noise, except I also have to create the music and sounds instantly, and mix it at the same time, its a organic, and living on the edge gut wrenching, emotional mix, that can leave the audience changed forever." Many reference books refer to Hall as the principle architect and originator of this incredibly diverse and unique style of music. "sound sculptures because I use stereo sound created by using 2 150 watt Carlsbro keyboard combo amps fitted with 300 watt Black Widow speakers in each cabinet + a Line 6 AX2 212 250 watt stereo combo. I work with 3 different sets of digital delays. I create the volume required and layer the sound with 2 foot volume controls mixing the sounds I make (using the above implements), in real time, layering the sounds one on top of the other, listening to what sound I have created/layered first with one digital spread, then layering another sound on top of the sound already made. The sound is huge wide-screen and dramatic. It would be like mixing two record decks together mixed with industrial noise, except I also have to create the music and sounds instantly, and mix it at the same time, its a organic, and living on the edge gut wrenching, emotional mix, that can leave the audience changed forever." "sound sculptures because I use stereo sound created by using 2 150 watt Carlsbro keyboard combo amps fitted with 300 watt Black Widow speakers in each cabinet + a Line 6 AX2 212 250 watt stereo combo. I work with 3 different sets of digital delays. I create the volume required and layer the sound with 2 foot volume controls mixing the sounds I make (using the above implements), in real time, layering the sounds one on top of the other, listening to what sound I have created/layered first with one digital spread, then layering another sound on top of the sound already made. The sound is huge wide-screen and dramatic. It would be like mixing two record decks together mixed with industrial noise, except I also have to create the music and sounds instantly, and mix it at the same time, its a organic, and living on the edge gut wrenching, emotional mix, that can leave the audience changed forever." I work with 3 different sets of digital delays. I create the volume required and layer the sound with 2 foot volume controls mixing the sounds I make (using the above implements), in real time, layering the sounds one on top of the other, listening to what sound I have created/layered first with one digital spread, then layering another sound on top of the sound already made. The sound is huge wide-screen and dramatic. It would be like mixing two record decks together mixed with industrial noise, except I also have to create the music and sounds instantly, and mix it at the same time, its a organic, and living on the edge gut wrenching, emotional mix, that can leave the audience changed forever." "Industrial because I use household objects such as:
Dictaphone, small radio, siren, police car sounds, psaltry bows in fact anything that will vibrate the strings of the guitar to create the desired effect"G P Hall's has devised many of the techniques himself, his music is a mixture of Flamenco, Rock and Avant-Garde. GP also draws inspiration from the more usual classical, jazz, and improvisation. Flamenco patterns played on a 6-string bass, electric blues (industrial style), sound-scapes, classical, minimalist, and Industrial Sound Sculptures all form the basis of the rich, multi-layered sound that is unique to G P Hall. Many reference books refer to Hall as the principle architect and originator of this incredibly diverse and unique style of music. GP also draws inspiration from the more usual classical, jazz, and improvisation. Flamenco patterns played on a 6-string bass, electric blues (industrial style), sound-scapes, classical, minimalist, and Industrial Sound Sculptures all form the basis of the rich, multi-layered sound that is unique to G P Hall. Many reference books refer to Hall as the principle architect and originator of this incredibly diverse and unique style of music. Flamenco patterns played on a 6-string bass, electric blues (industrial style), sound-scapes, classical, minimalist, and Industrial Sound Sculptures all form the basis of the rich, multi-layered sound that is unique to G P Hall. Many reference books refer to Hall as the principle architect and originator of this incredibly diverse and unique style of music. Many reference books refer to Hall as the principle architect and originator of this incredibly diverse and unique style of music. Many reference books refer to Hall as the principle architect and originator of this incredibly diverse and unique style of music. GP Explains: |
"How would you describe your music?"
I don't think there is an easy answer to that one. I don't play just one type of music.
I seem to be only able to play my own music, some of which are Industrial Sound Sculptures.
Industrial, because I use house hold items such as crocodile clips, Braun battery shavers,
pieces of Velcro, metal spatulas and anything which will vibrate the strings or create the
desired effect.
Sound sculptures, because by using digital sound layers on top of each other they create
a multi orchestral sound! In fact that is another aspect of my music; a Wide-Screen stereo
orchestral sonic classical sound as in my recording of 'Spirit Sky Montana' on CD called
'Mar-Del-Plata'.
Spirit Sky Montana is a composition influenced by Aaron Copland's music and it has those big
broad digital sound spreads that pictures one standing on the plains looking at wall to wall stars.
I also mix industrial with Spanish sounds, Avant -Garde noises and violent over-driven motorised
air sounds, as in 'City Signals' (sounds from an open window). 'Imaginary Music' maybe sums it
up better.""
"How would you describe your music?"
I don't think there is an easy answer to that one. I don't play just one type of music.
I seem to be only able to play my own music, some of which are Industrial Sound Sculptures.
Industrial, because I use house hold items such as crocodile clips, Braun battery shavers,
pieces of Velcro, metal spatulas and anything which will vibrate the strings or create the
desired effect.
Sound sculptures, because by using digital sound layers on top of each other they create
a multi orchestral sound! In fact that is another aspect of my music; a Wide-Screen stereo
orchestral sonic classical sound as in my recording of 'Spirit Sky Montana' on CD called
'Mar-Del-Plata'.
Spirit Sky Montana is a composition influenced by Aaron Copland's music and it has those big
broad digital sound spreads that pictures one standing on the plains looking at wall to wall stars.
I also mix industrial with Spanish sounds, Avant -Garde noises and violent over-driven motorised
air sounds, as in 'City Signals' (sounds from an open window). 'Imaginary Music' maybe sums it
up better.""
"How would you describe your music?"
I don't think there is an easy answer to that one. I don't play just one type of music.
I seem to be only able to play my own music, some of which are Industrial Sound Sculptures.
Industrial, because I use house hold items such as crocodile clips, Braun battery shavers,
pieces of Velcro, metal spatulas and anything which will vibrate the strings or create the
desired effect.
Sound sculptures, because by using digital sound layers on top of each other they create
a multi orchestral sound! In fact that is another aspect of my music; a Wide-Screen stereo
orchestral sonic classical sound as in my recording of 'Spirit Sky Montana' on CD called
'Mar-Del-Plata'.
Spirit Sky Montana is a composition influenced by Aaron Copland's music and it has those big
broad digital sound spreads that pictures one standing on the plains looking at wall to wall stars.
I also mix industrial with Spanish sounds, Avant -Garde noises and violent over-driven motorised
air sounds, as in 'City Signals' (sounds from an open window). 'Imaginary Music' maybe sums it
up better.""
Sound sculptures, because by using digital sound layers on top of each other they create
a multi orchestral sound! In fact that is another aspect of my music; a Wide-Screen stereo
orchestral sonic classical sound as in my recording of 'Spirit Sky Montana' on CD called
'Mar-Del-Plata'.
Spirit Sky Montana is a composition influenced by Aaron Copland's music and it has those big
broad digital sound spreads that pictures one standing on the plains looking at wall to wall stars.
I also mix industrial with Spanish sounds, Avant -Garde noises and violent over-driven motorised
air sounds, as in 'City Signals' (sounds from an open window). 'Imaginary Music' maybe sums it
up better.""
Spirit Sky Montana is a composition influenced by Aaron Copland's music and it has those big
broad digital sound spreads that pictures one standing on the plains looking at wall to wall stars.
I also mix industrial with Spanish sounds, Avant -Garde noises and violent over-driven motorised
air sounds, as in 'City Signals' (sounds from an open window). 'Imaginary Music' maybe sums it
up better.""
I also mix industrial with Spanish sounds, Avant -Garde noises and violent over-driven motorised
air sounds, as in 'City Signals' (sounds from an open window). 'Imaginary Music' maybe sums it
up better.""
| Gothic Flamenco CD (Bronze Records) |
| "Blazing Hot Sun" |
| "On Every Life (a little rain must fall)" |
| Each a Glimpse and Gone Forever CD |
| "Glow" |
| Tender Spirits CD |
| "Sand Storm" |
| "Slipstreams" | ||||
| "Spirit Sky Montana" | ||||
| "English Woods" | ||||
| "Incandescence" | ||||
| From Steel Storms CD | ||||
| "Steel Storms" | ||||
| "Tsunami" | ||||
| "Dancing on Cracking Ice" | ||||
| "City Signals" | ||||
| Songs From the House Within CD | ||||
| "Mercurial Love" | ||||
| "The Days of Wine & Roses" | ||||
| "Useless Words" | ||||
| Mercurial State CD | ||||
| "Lone Wolf" | ||||
| "Shining Path" | ||||
| Mar-Del-Plata CD | ||||
| "Mar-Del-Plata" | ||||
| "Paths of the Lonely" | ||||
| "Fahrenheit 451" | ||||
| "Deep Blue" | ||||
| Unpublished Tracks | ||||
| "Guitar of Diamonds" | ||||
| "Industries Bleeding Inwardly" | ||||
