# Yuri Landman ## Recordings ## Images ## Quotes > For years, I worked with prepared guitars, placing objects under the strings and mainly playing them on the other side (opposite of where the string are), where the pick-up is not taking up the string attack directly. Like a tuning fork the opposite string part resonates on the attacked string side. When placed on the middle of the string, both sides have an equal tone and the resonation is optimum. When placed on another position however, the tone is much more interesting, because the resonation then causes a strange clock-like, multi-phonic tone. ([[Yuri Landman]], [[Landman 2008 From Experimental Punk to Ancient Chinese Music & the Universal Physical Laws of Consonance]]) > Originally, we were a two piece studio band, but after two albums, we started playing live and the reconstruction of the arrangements became a problem for me. Most of the time, I remember how I prepared my guitars, but when recording, along with the preparation, there were many other parameters too. It can be very dissimilar from playing the guitar traditionally- the sound can be 100% different and impossibly inharmonic with only the slightest deviation from any of the parameters like EQ, distortion, tuning and the third bridge positioning. And additionally, when you stand up on a stage wearing the guitar on your shoulders, the screwdriver slips off because of the gravity and it moves while you are playing a song because the strings are vibrating. ([[Yuri Landman]], [[Landman 2008 From Experimental Punk to Ancient Chinese Music & the Universal Physical Laws of Consonance]]) ## Objects ## References - [[202306251948 Hopkin & Landman 2014 Nice Noise]] - [[Landman 2008 From Experimental Punk to Ancient Chinese Music & the Universal Physical Laws of Consonance]]