When mixing a song it can be beneficial to have each instrument on its own track, ideally with as little bleed as possible. In the same way, if it’s a remix it helps to have the stems. Each part can then be prepared and processed in the best possible way. Towards the end, these sounds are combined.

Conversely, sound from the six strings of a guitar is nearly always combined at the start - at the very moment it becomes electricity, and all effects processing is largely done afterwards. As a result of this early combination, many creative opportunities are left unexplored when these six signals are irrevocably collapsed into one.

For the last hundred years or so one-channel guitar has been the norm. Why is this? In the hands of the right musician, a guitar can sound like an ensemble. Beethoven called the guitar “an orchestra in miniature”. Whilst a band can be recorded with one microphone, there is greater latitude for creativity, fidelity and experimentation if we have more at our disposal.

Similarly, if we separate, capture and harness six individual strings of the guitar and delay the combination of these signals, we can use processes and tools, both familiar and exotic, to conjure up new sounds and new sonic experiences. We can make the guitar so very much more than the sum of its parts. We can finally have infinite creative control over this wonderfully versatile instrument.

Anyway, this is all rather dry. Let’s go beneath the waves, let’s dive even deeper.

Welcome to Submarine.