When Knox Chandler was profiled in Guitar Moderne, he was already incorporating an iPad into a rig that included a laptop. More recently he has gone all iOS and was kind enough to tell Guitar Moderne about it.
For the second bassist to be featured in Guitar Moderne, I can think of no one more fitting than Peter Freeman. But to call Freeman a bass player is like calling Rick Cox, with whom he has often worked, a guitarist—true as far is goes, but hardly the whole story. Like Cox, Freeman has been heavily involved in sound design for movies, and is as likely to be found programming drums, playing synthesizer, or manipulating electronics as plucking a four-stringed instrument.
His work producing the legendary Jon Hassell, alone, has earned him an esteemed place in the annals of electroacoustic music. I first spoke to Freeman for a piece on Hassell for the late EQ magazine. I am including the transcript of that first conversation with Freeman as a bonus.
Over three decades, Knox Chandler’s career has including performing, recording, arranging and producing, with REM, Depeche Mode, Grace Jones, Marianne Faithful, Natalie Merchant, The Creatures, The Golden Palominos, as well as stints as a member of The Psychedelic Furs, Siouxsie and the Banshees and Cyndi Lauper‘s band. His most recent venture is the creation of his sound ribbons/tonepoems. These are real-time musical soundscapes created through iPad and computer manipulations that process and iterate the electric guitar. They are improvisations composed on the spot, using no pre-recorded audio or sequencing.