Multiphonic Guitar w/treatment
Miller's degeneration explores "prepared guitar" as a form of sonic fragmentation. First altered in 1982, "The Zoo" (a deconstructed Gibson Kalamazoo) was one of many oddities integral to the sound of Ann Arbor Michigan's willfully obscure GKW. This instrument is equiped with 1 Humbucker in standard placement panned Right, 1 Humbucker suspended above the 1st Fret facing down panned Left, and 2 inexpensive Piezo contact pickups at the Headstock panned Left and the Body panned Right.
Note: the pickup at the 1st Fret captures the string sounds from the opposite side of the fretted/manipulated strings. Lastly, a Hexaphonic pickup in standard placement outputs each string separately with each string running through a different chain of electronic effects. While these 5 pickups are delibarately panned for Stereo, many frequencies interact and at times swap positions creating a kind of naturally random complexity across the Stereo Field - hence the blanket statement;
"Mulitphonic Guitar w/Treatment".
The Zoo's 6 strings are excited by active items; hammers, metal slides, combs, chains, restaraunt-style salt shaker, long screws, cello bow, eBow, and prepared items; aligator clips, binder clips, large springs, Ace bandage fasteners, vintage barretts and other found objects. String-sounds also occur below the bridge, above the nut, and from the Guitar body itself. The bridge is not "saddled" instead completely smooth so that the strings are mobile and free to slide across it enhancing the instrument's erratic microtonal sound. Its strings are strung below standard tuning. Sometimes a special Tuning is set up, but more often than not Pitch and Intonation are arbitrary.
Deep Listening is Key.
The use of a guitar pick and the traditional approach of playing a "guitar neck with frets" is rare. Retaining this unique mulitple output, Miller adds a score of Guitar FX pedals, Casio SK1 8-bit sampling, analog tapes, transistor radio, and the liberal use of a Bixby tailpiece. Manipulated vinyl and Analog Synth sometimes accompany the mood. Concerts often use Visual Projection and Multiple Speaker setups for spacial enhancement.
Miller honed his prepared guitar approach with Chicago's DIRTY OLD MAN RIVER. Songwriter Julian Mills let him have at it.
"...Miller's chainsaw hum sputters almost subliminally, lurking in the shadows of the mix."
_ THE SADDEST MOVIE SCREEN, CMJ 1998
"...it's been a long time since anyone has done Wisconsin Death Trip gothic on this level...bloodcurdling prepared-guitar breaks and squeals make the nightmare stick."
_ AGELESS, Chicago Reader 2000
"...this mad scientist claws at a modified, tabletop Gibson...It's squeaks, croaks, frequency disruptions and energy fields assassinate DOMR's compositions, knocking them sideways and diluting their cabaretish flair."
_ AGELESS, Jordan N. Mamone, NY Press 2000
At the turn of the Century under the moniker ben Miller/degeneration, Miller began solo performance releasing INTERCOM.
"If new expressionists closed their eyes and painted what they saw then Ben Miller must be taping shut his ears and playing what he hears; blood thrashing through arteries, nerves popping, synapses burning,..doors knocking, feet bounding up echoed stairways...Formerly a part of the 'anti-rock band' Destroy All Monsters, Miller takes the 'anti' idea a step further." Melissa Giannini, Detroit Metro Times 2001.
Miller resided in the NYC-metro area over the past decade touring the East Coast and Europe collaborating with numerous musicians and visual artists.
SOUND TRACK / DESIGN:
RaphaŽl Maze's Film for Music #11 / Ben Miller, 2013
Ofer MizraChi's Blurrer, 2012
Laurence Miller's Color of Water, 2011
Anne Carson's NOX Live performance @ ICA, Boston MA, 2010
Orin Buck's Light Dreams 5, 2009
Raymonds' Bar with projections by RaphaŽl Maze and Gregory Robin, in Claremont-Ferrand, FR 2013
Moviate in Harrisburg PA, 2012
Kerrytown Concert Hall in Ann Arbor MI, 2010
Highwire Gallery in Philadelphia PA, 2010
Electric Possible in Washington DC, 2009
Dream Theatre in Ypsilanti MI, 2004
INTERCOM, OVER AND OUT, LAYER, SIRENS OF PHOBOS, LIVE PERFORMANCES & RADIO BROADCASTS, EYELANDS UNDER EYELID, POLAR SHIFTS, COLOR OF SOUND, and EMPTY / MARIANA TRENCH distributed in Japan via ART INTO LIFE, Downtown Music Gallery and on this website.
Contact Ben Miller at email@example.com