• << SpeStri >> , Speaker Strings , Instrumentos de cuerda acusticos acoplados con parlante amplificado y electronicos
• << SpeStri >> , Speaker Strings , Acoustic string instruments embedded with amplified Speaker & electronics

Following the tradition of prepared instruments in experimental music, such as John Cage’s prepared pianos, Laurie Anderson’s magnetic violin, or Christian Marclay’s turntables, prepared electric guitars are instruments that have been modified with a variety of devices to explore their sonic capabilities and experiment with processes beyond chords, riffs, or scales. They offer a wide range of sonic and expressive possibilities in their execution. Artists like Fred Frith and Hans Tammen specialize in improvisation and performance using prepared electric guitars, both electric and acoustic.

In many of my pieces, I explore the hypotheses of electromagnetic induction. Ultimately, every process, whether electric or acoustic, is electromagnetic. The Spanish guitar, being a classical instrument, started to rely on electromagnetism for amplifying the strings when it became electric. The guitar lost its acoustic chamber as it became unnecessary, and its form evolved along with the aesthetic possibilities and sonic experimentation with the instrument.

Spestri Guitar: It is a prepared electroacoustic guitar. A classical guitar was fitted with a 100-watt speaker directly on the soundboard, an equalizer preamplifier with a piezoelectric strip, a 30-watt amplifier with two channels, transducers, and various analog and DSP electronic processes.

The classical acoustic process of the guitar is disrupted as a self-amplifying system generating autonomous chaotic oscillations. This occurs due to sympathy in resonance, a phenomenon in which two vibrating systems have similar natural frequencies and mutually influence each other. When a string is played, it is amplified by the speaker, resulting in a transfer of vibrational energy between the systems and generating a resonant response from the vibrating string. This creates a loop, a feedback, producing unstable harmonics like processed drones through feedback loops.

The audio signal passes through a Matrix Mixer and is processed by a series of pedals and filters. As an expressive and intrusive act, the strings are tuned during performance, electromagnets and motors are used, and a series of LowFi oscillators amplified by a transducer system are employed to strike the strings, transmitting the generated frequencies to the preamplification system. Equalization is important during improvisation, which is a continuous dialogue with the artifact, determined by the pseudo-autonomy of the system and the expressive orientation of chaos.

SpeStri was performed at Soundscapes 2015 (MX-UK) curated by Laura Plana, at the Fonoteca Nacional alongside J Milo Taylor, Juanjose Rivas, and Gudinni Cortina. At the Museum of Contemporary Art in Santiago, Chile with Anilla Cultural, at Hospedería del Errante in Ciudad Abierta, Chile for an improvisation set with Oscar Santis, and as a duo with Fernando Vigueras at the Infinito Festival and Habitación del Ruido. They were part of the Articulaciones del Silencio series as a duo with Liliana Rodriguez at the Centro Cultural España and performed at the Museum of Modern Art in Medellin. it also participated in the Sensory Laboratory at No Estamos Solos, ElektronischeArtandMusic in London with J Milo and Dr. Nexus at Chalton Gallery in London, at Perfume, Galería Labor. At H34r in Taller 30 San miguel de allende Guanajuato