Roger C. Miller : Custom Stratocaster 6-string; three Rogue lap-steels [on legs], two prepared, one tuned unison E; multiple foot-pedals/sound-altering devices; Boomerang III Looper - all music performed in real time. Roger Clark Miller is best known for being the guitarist in Mission of Burma, where he expanded the vocabulary of rock guitar playing by incorporating elements of free jazz and 20th Century classical music. His "Solo Electric Guitar Ensemble" expands the vocabulary in a new direction, with or without rock music. He began conceptualizing his "Dream Interpretations for Solo Electric Guitar Ensemble" in 2018. He currently uses a regular electric guitar and three lap-steel guitars on stands, two of them loaded with alligator clips or bolts, the other to a post-Glenn Branca full unison E. These instruments and their electronic effects result in percussive grooves and bass-lines. Combining looping technology with new guitar stomp-boxes, many in stereo, the sound palette is enveloping. In performance, Miller sits in his cockpit, able to reach all four guitars and a plethora of pedals from one position. It requires intense concentration to play these compositions, but they could not have occurred any other way.
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Roger C. Miller : Custom Stratocaster 6-string; three Rogue lap-steels [on legs], two prepared, one tuned unison E; multiple foot-pedals/sound-altering devices; Boomerang III Looper - all music performed in real time. Roger Clark Miller is best known for being the guitarist in Mission of Burma, where he expanded the vocabulary of rock guitar playing by incorporating elements of free jazz and 20th Century classical music. His "Solo Electric Guitar Ensemble" expands the vocabulary in a new direction, with or without rock music. He began conceptualizing his "Dream Interpretations for Solo Electric Guitar Ensemble" in 2018. He currently uses a regular electric guitar and three lap-steel guitars on stands, two of them loaded with alligator clips or bolts, the other to a post-Glenn Branca full unison E. These instruments and their electronic effects result in percussive grooves and bass-lines. Combining looping technology with new guitar stomp-boxes, many in stereo, the sound palette is enveloping. In performance, Miller sits in his cockpit, able to reach all four guitars and a plethora of pedals from one position. It requires intense concentration to play these compositions, but they could not have occurred any other way.
