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sustain characteristics and context. This approach often utilizes extended sustain, reshaped timbres, discreet vibrato techniques, textural event layering, and simply breaking down a chord to its basic elements and recording each element separately (as a modified guitar orchestra). The term
Guitarchitecture applies to both Hammer's soundtracks in the digital film medium, and his recorded guitar work.
844:. These soundtracks were widely broadcast internationally and in effect broadened the textural range and darkened the tone of soundtracks that followed in the genre, through merging textural guitar, advanced editing techniques and processed sonic artifacts. The following is a partial list of series and documentary soundtracks he has composed:
329:, and Guitarchitecture. As an artist, Hammer is best known for his Guitarchitecture recordings, though he is also widely regarded as a leading New York City based soundtrack composer, having scored approximately 300 documentary films. He is currently developing a series of improvisational textural guitar recordings.
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multitrack recordings live, utilizing the
Digital Guitar Interface. In 1985 he recorded "Glacial Guitars", a series of Guitarchitecture pieces that deploy cello timbres and string controlled sampling. in 1986 Hammer recorded "Cathedral Guitars", a series of solo acoustic pieces. In November 1986 he
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Textural tracks, such as those on Bowie's "Ashes to Ashes" and "Teenage
Wildlife", exhibited a highly experimental multi-layered approach to recording and composing with the guitar. Hammer's recordings with David Bowie represent one of the most influential and genre defining approaches to textural
441:
Hammer's recorded work is broadly known as
Guitarchitecture, a process and term which he developed in 1977. The underlying thought behind Guitarchitecture is to extend the sonic vocabulary of the guitar. Guitarchitecture involves widening the guitar's textural vocabulary by altering its temporal
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in New York City, a multi media production facility, that focused on film and digital music scoring. Between 1994 and 2004 he composed soundtracks for an extended series of non fiction documentaries; collaborating extensively with
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Hammer toured extensively as a textural guitarist with Lou Reed from 1978 through 1980. During these concerts Hammer utilized new guitar technology, known as
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guitar layering. They are regarded as having opened the door to the textural guitar movement that followed.
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Roland GR 500 Guitar Synth
Controller that Hammer used while recording with David Bowie and Lou Reed
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In 2016 Hammer completed the recording and production of "Blind On Blind" with
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Chuck Hammer and Lou Reed performing June 1979, The Bottom Line, New York City
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as the primary instrument to reshape audio elements while recording this
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How 'Ashes To Ashes' Put The First Act Of David Bowie's Career To Rest
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from the article and its talk page, especially if potentially
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with
Eventide Harmonizer and multiple analogue tape delays.
336:, studying classical guitar with Oswald Rantucci, jazz with
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In 1983 Hammer began composing film soundtracks with a
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Between
Thought and Expression: The Lou Reed Anthology
451:, alongside an eclectic and select group, including
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493:Chuck Hammer, recording rig, 2015, Woodstock, NY
218:but its sources remain unclear because it lacks
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783:Chuck Hammer, recording, New York City, 2018
569:Chuck Hammer, recording, New York City, 2018
735:The Platinum Collection (David Bowie album)
591:, David Bowie, (1980), UK No. 1, US No. 12)
64:Learn how and when to remove these messages
604:The Singles Collection (David Bowie album)
529:Blind On Blind (Hammer–Martin–Tacuma–Saft)
332:He was born in New York City and attended
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108:about living persons that is unsourced or
295:Hammer at Terminal 5, New York City, 2015
267:Learn how and when to remove this message
249:Learn how and when to remove this message
179:Learn how and when to remove this message
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722:, David Bowie (Teenage Wildlife), (2005)
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759:A New Career in a New Town (1977–1982)
445:Hammer was accorded pioneer status by
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403:tracks with David Bowie on the album
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709:The Best of David Bowie 1980/1987
588:Scary Monsters (and Super Creeps)
406:Scary Monsters (And Super Creeps)
45:This article has multiple issues.
1048:American experimental guitarists
1013:Chuck Hammer recordings Bandcamp
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949:Prown, Pete and Newquest, HP -
937:Transformer: The Lou Reed Story
923:David Bowie: We Could Be Heroes
399:In March 1980, Hammer recorded
390:. Hammer recorded with Reed on
348:in New York City that included
53:or discuss these issues on the
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620:Rock and Roll Diary: 1967–1980
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1068:Guitarists from New York City
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810:(BAM). Hammer utilized a
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838:Discovery Communications
821:In 1989 Hammer designed
727:Sound + Vision (box set)
204:This article includes a
939:(Simon & Schuster)
233:more precise citations.
951:Legends of Rock Guitar
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704:(1990) – album version
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688:(1983) – album version
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100:Please help by adding
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762:, David Bowie, (2017)
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615:, David Bowie, (2002)
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712:(2007) – single edit
649:, , Lou Reed, (1992)
576:Growing Up in Public
393:Growing Up in Public
304:Guitarist · Composer
106:Contentious material
895:Women and the Badge
834:National Geographic
743:Nothing Has Changed
534:Path Heart Traverse
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935:Bockris, Victor -
900:Just Off The Coast
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415:Teenage Wildlife
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823:AVA studios
679:gramavision
671:Showstopper
654:Perfect Day
628:City Lights
327:David Bowie
231:introducing
1022:Categories
916:References
864:Paramedics
789:Synclavier
677:, (1982),
479:Jamie Saft
356:Early work
350:Don Cherry
301:Occupation
169:April 2010
139:newspapers
50:improve it
910:The Wreck
539:Aetherial
379:The Bells
315:guitarist
91:citations
56:talk page
812:synthaxe
641:, (1986)
583:, (1980)
581:Lou Reed
323:Lou Reed
319:composer
117:libelous
818:piece.
635:Someday
413:" and "
227:improve
153:scholar
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840:, and
477:; and
367:Berlin
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160:JSTOR
146:books
84:This
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955:ISBN
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455:and
382:and
132:news
93:for
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