Killick Hinds performs live with Walrus 6-string guitar at Alfred University on February 24, 2020. Many of his unusual and innovative techniques are on display: playing behind fretting hand, neck contact mic, external friction devices, string damping, combined with foot-controlled software and organic tube amplification via his custom Schroeder.
This was part of a Sound Design seminar on February 24th, 2020 at Alfred University in Alfred, upstate NY. I also have video of my performance with the Ergo bowed instrument and all the class discussion as well. For some reason the video soundtrack features a non-stop hip-hop drum loop instead of what transpired. (This is inexplicable, although I’m going to sample the loop for a new piece.) I had my field recorder running and that’s what you hear on the Walrus section. The Ergo speaker was too close to the field recorder so that sound isn’t usable, and the class discussion is nearly inaudible at times. The good ones always get away!
It was a delight presenting my craft and artist practice experiences with the students and instructors…I learn a ton through such interactions. With the Walrus I was running the humbucker output and a contact mic each through volume pedals and then directly into the computer to occasionally add some 8-bit sounds via MIDI Guitar 2. The guitar sounds and chipsounds were summed to mono and broadcast through amp and speaker. At the beginning I’m using my fretted and fretless wedges—based on Hans Reichel’s dax—and then at the end I’m indeed using a full sized stripper pole. (Killick Hinds)
Live at the 2019 NYC Electroacoustic Improvisation Summit at New York City College of Technology. Both guitars are fretless (multiscale). Adam J. Wilson on fretless Spearfish™ 6-string. Killick Hinds on Walrus 6-string. Arto Artinian is playing a Haken Continuum surface.
Prior to this live performance, the trio recorded Body Systems studio album.
Besides the three of us, we’re improvising with some software I wrote, an algorithmic agent I’ve taken to calling “Skronkbot.” Skronkbot is always listening and always playing; when I press pedals on my pedalboard, I’m turning Skronkbot’s output on and off and directing it to use different synths and samplers. (Adam J. Wilson)
One of the ways I approach playing with Adam & Arto is to activate densities wrapped in a web of harmonic infinity…something like lungs filling to steady the next exhalation. There’s an unceasing propulsive quality from the sum of three people (plus robot!) inserting pantonal panrhythmic melodicisms with consummate attention towards making the group soup a good eat. This is a truly a fretless trio: fret less and listen more. It’s always a pleasure to work with these beautiful souls and adept technological marvels who too have their own say. (Killick)