For Guitarist Allan Holdsworth, Perfection Is the Goal (LA Times 1990) and Allan Holdsworth’s New Horizons (Downbeat 1985): Difference between pages

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'''''Summary''': Allan Holdsworth, a highly regarded guitarist among musicians, maintains a low profile despite accolades from the likes of Eddie Van Halen. Holdsworth's modesty, passion for music, and dedication to constant improvement set him apart. He expresses frustration with the music industry's reluctance to promote unconventional genres and longs to reach a broader, non-musician audience. Holdsworth discusses his musical direction, influence, and freedom in the recording process. He describes his relationship with his family, his lifestyle, and his love for music.''
'''''Summary''': Allan Holdsworth, a pioneering and innovative guitarist, is celebrated for his unique approach to playing the guitar. He blends rock and jazz elements in his music. Holdsworth is also known for his use of cutting-edge technology like the SynthAxe, which sets him apart in the world of guitarists. Despite his extraordinary technique, he faces challenges in getting airplay on both jazz and rock radio stations, as his music straddles both genres. His commitment to innovation and experimentation continues to drive his musical journey.'' ''[This summary was written by ChatGPT in 2023 based on the article text below.]''


For Guitarist Allan Holdsworth, Perfection Is the Goal
Allan Holdsworth's New Horizons


http://articles.latimes.com/1990-03-06/entertainment/ca-2050_1_allan-holdsworth
Downbeat, November 1985


He's not well known outside musicians' circles, but that's all right with him. He just wants to make his music--and make sure it's the best it can be.
Bill Millkowski


Los Angeles Times, March 06, 1990
"There's a guy named Allan Holdsworth that probably won't get the recognition he deserves because he's too good. If you play guitar and think you're good, just listen to that guy.


By JIM WASHBURN
-NEIL SCHON (JOURNEY)


TUSTIN — Eddie Van Halen, no slouch on the strings himself, has said that Allan Holdsworth is the best guitarist there is, a view pretty much seconded by the likes of Frank Zappa, Neal Schon and Gary Moore. A cover story in Guitar World magazine last year proclaimed Holdsworth "as influential as Chuck Berry, Jimi Hendrix and Eddie Van Halen," and Holdsworth is the cover subject of the current issue of Guitar Player.
"When it comes to putting all the elements together Allan Holdsworth has got it. I give him more credit than anyone for just pure expression in soloing. He has something totally beautiful."


As Holdsworth figures it, though, the neighbors in the unassuming Tustin tract where he lives with his family "don't know what I do--or anything, I think. Most of them probably don't even know I play an instrument."
-CARLOS SANTANA


In some respects, he prefers it that way. The torrents of praise that have come his way make Holdsworth cringe. Short of wearing a shirt that reads "I Am Nothing, Really," Holdsworth could scarcely be more diffident about his talent and the accolades it has earned. It's as if his closeness to his own music doesn't permit him to rest on the laurels offered by others.
"He plays so much, he covers everything. A totally comprehensive player. He's one of those revolutionary guitarists:'


Holdsworth, who will perform tonight in Santa Ana, is a lanky, spider-fingered, soft-spoken man. Seated on the floor of his equipment-cluttered garage studio last week, he said: "Obviously, it's very nice when someone likes the music. And you can't argue, 'No, you're crazy, you're completely wrong,' with them. You'd be denying them their opinion. So I just have to say, 'Thank you very much.' But I always think that what I do is crummy anyway.
-LARRY CORYELL


"I love music--really a lot. That's why I do it. But mine just never makes it, to me. There's always something wrong with it, something I want to change. But I like that, because at least it keeps me looking, trying to find ways I can improve, which obviously are a lot."
"Holdsworth is the best in my book, He's' fantastic. I love him."


In his pursuit of what may be an impossible perfection, Holdsworth has created some genre-blurring music with Tony Williams' Lifetime, Bill Bruford, Soft Machine, Gong, UK and on his own albums and tours. And his "crummy" music, with its labyrinthine logic and dazzling interval leaps, has expanded--some say redefined--the vocabulary of the electric guitar.
-EDDIE VAN HALEN


Although his musician fans may jockey for the best finger-viewing seats at his shows, Holdsworth's neighbors certainly aren't alone in not knowing about him.
"For me, Allan Holdsworth is doing the most interesting things on electric guitar."


"A lot of people in my audiences are either musicians or somehow connected to the business, simply because they're the only ones who ever find out about this music," Holdsworth said. "It's practically impossible to reach other people because of the problems this kind of music has getting airplay and promotion.
-STEVE KHAN


"That's sad to me, because the ultimate thing for me would be to reach someone who didn't know anything about music at all, so they wouldn't be watching your fingers and all but (rather) listening to it on a different, emotional level, where they just heard it and it meant something to them."
Just who is this guy Allan Holdsworth, and why are they saying such wonderful things about him?


Does he think his kind of progressive music would appeal to the casual listener?
A pioneer in the fusion movement of the '70s with such legendary instrumental groups as Soft Machine, Gong, U.K., Tony Williams' Lifetime, Bill Bruford's bands, and Jean-Luc Ponty, Holdsworth stands today as one of the most distinctive and innovative guitarists in the world. His incredibly fluid technique and his unique scalar approach to soloing ("I tend to hear flurries of notes as a whole, from beginning to end, rather than hearing one note after the other") have made him the envy of countless aspiring guitarists looking to break away from rock and blues cliches.


"I don't think everybody would like it, for sure. But if people got to hear it, if even 20% liked it, I would be really happy with that.
His seamless style of playing melody lines or improvising over a myriad of chord changes more closely resembles the legato approach of a saxophone player than the normally percussive attack of a guitarist. You rarely hear any picking sound or blunt attack when Holdsworth wails. Instead you get flowing lines that whoosh by so quickly and flawlessly that you simply can't begin to imagine what his right and left hands are doing.


"But it's hard to get past the people who are in the business side of it, like the radio stations which seem totally disinterested in anything that isn't pushed on them by the record companies.
But that's only the beginning. As if Holdsworth's astonishing technique weren't enough to digest on its own, now the guy has gone out and acquired a new piece of technology that adds a whole other befuddling aspect to his already awesome arsenal of effects.


"There are good people in radio and the record companies, but there are others who are completely in the wrong job and holding music up in the process. It would be like me walking into a hospital, pretending to be a doctor and carving somebody up. They really aren't qualified.
On his latest Enigma album, Atavachron, the revolutionary guitarist takes one step further toward Mars with a new and revolutionary piece of hardware, the SynthAxe. The product of several years of painstaking research, the SynthAxe is England's answer to the guitar synthesizer. But unlike that popular Roland product, the SynthAxe makes no sound of its own. What it is, basically, is a controller for synthesizers, capable of interfacing with Fairlights, Synclaviers, or any MIDI-equipped synths. This thing is strictly high-tech to the max, and Holdsworth feels it positively renders all other guitar synthesizers obsolete.


"In a way, I think the whole business is pretty corrupt. It's like anything else where people make a lot of money--it's really hard for the little guy. I do realize this kind of music might not be liked by the vast majority of people anyway, but it's just sad that we and so many of the other kinds of musicians out there can't reach those extra people--people desperate to hear something different--who might like it."
"It's really in a field of its own. It's an amazing machine. I'm so in awe of the whole thing. I'm still trying to figure out why anyone would've gone through that amount of trouble; and believe me, they did go through an awful lot of trouble to do this. They're totally pioneering something in a certain direction that no one has ever done before. There isn't anything even close to it. There probably will be in a few years time when other companies start copying them, but they've laid the groundwork and therefore I think they deserve credit for that"


In a recent interview, Van Halen, while decrying Holdsworth's lack of popular recognition, also asserted that his music "needs direction."
"They" are British inventors Bill Aitken, Mike Dixon, and Tony Sedivy, who began developing this revolutionary machine around 1980. Along the way they were aided in the design of the SynthAxe by Ian Dampney and Ken Steel. Take a bow, gentlemen.


"I think he's absolutely wrong," Holdsworth said. "Maybe I need direction if they wanted to make me do something I didn't want to do so I could make money, but that's not what I'm in it for. Obviously I want to make a living at it and make ends meet enough to be able to continue improving at this, but I think I have a good idea about exactly what I want to do.
Perhaps the most significant feature of the SynthAxe is the fact that it doesn't work on the pitch-to-voltage principle, as do most of the other guitar synthesizers currently available. Though many guitar synth users have waxed enthusiastic about the sounds available on their instruments, they sometimes express reservations about the tracking problems inherent in the system. That is, there is a 10th-of-a-second or so delay from the time a note is struck to when the sound is actually produced. This inevitably forces guitar players to alter their own techniques to suit the demands of the instrument. Some, like Pat Metheny and John McLaughlin, don't mind this too much, considering the synthesized guitar's other advantages.


"A couple of years ago, I went to a meeting with a major label interested in me. And I couldn't wait to get out of there, man. The guy practically said that I was completely directionless, that he didn't like anything I'd ever done since I'd started making my own albums and that they wanted me to use X musicians instead of Y musicians, and this producer, this engineer and this studio.
According to Holdsworth, "The pitch-to-voltage principle has some inherent problems that you can never really surmount. When I first played a guitar synthesizer it kind of opened up one door and closed another one immediately. Like, all of a sudden I had all these sounds I could get, which was great, except I couldn't really use them in a way that I wanted to because I was limited by the way you have to use the machine. And I hate that. I hate being dictated to by a machine. It's just a very disobedient machine, if you will. It takes a long time to decide what note you played, and also the wave length of a low note is bigger than a high note, so all the low notes come out slower than the high notes. But when I played the SynthAxe for the first time, I knew it was definitely going to be the way to go. I felt like it was made for me. Now I have a controller of synthesis that is an obedient machine, at last."


"And my hair was standing on end there. I couldn't believe it. Especially with the musicians I've been lucky enough to have play with me; I'm very proud to play with those guys, so that really annoyed me."
The SynthAxe has a highly sophisticated series of sensors under the surface of the fingerboard to relay information to the synthesizers. These sensors detect such subtleties as string-bending, damping or muting with left and right hands, dynamics, and just about every normal function of a guitar except for harmonics. Other features of this incredible new instrument include automatic hold, which creates drone notes to play on top of, and an automatic trigger-mode which allows the player to sound notes by tapping the fingerboard with left hand only (a la Stanley Jordan or the Chapman Stick.)


(His ace band tonight will be drummer Chad Wackerman, bassist Jimmy Johnson and keyboardist Billy Childs.)
"There's so many functions of the instrument that I haven't actually gotten into yet," says Holdsworth. "There's so much to learn, and I guess one of the interesting things about it is that everybody is going to find something different to do with it. As for me, I don't want it to sound like a keyboard or anything. I just want an instrument that I can play in such a way that my personality is still visible through it all. And now I've got a machine that will do that.


Holdsworth's current album, "Secrets" and two previous ones are Enigma, a small independent label. Although Enigma has limited means for promotion, Holdsworth says he is happy with it because "they trust me with the music. They'll say, 'OK, go make a record,' and leave me alone. A lot of guys have their record company breathing down their neck, trying to get them to do some lame track that might get on the radio."
One drawback with the SynthAxe is the fact that the fret spacing is fairly even as you go up the neck, rather than getting narrow as you approach the bridge. This makes chording fairly difficult at that high end of the neck. "There are certain chords that I can't play on it. I just can't reach that far. Chords that I had been used to playing on the top third of the regular guitar neck were suddenly impossible for me to play on the SynthAxe. That was the only single problem I've had with it, and I understand that they're going to be offering a few more neck options as they begin marketing them to the general public. But there's such a lot of work involved in the circuitry of the neck itself that it would be a very expensive proposition at this point in time to make a different neck for me.


Holdsworth recorded the basic tracks for "Secrets" at Front Page Recorders in Costa Mesa, then did his solos and the mixing in his garage studio, dubbed the Brewery.
The SynthAxe has not completely taken over Holdsworth's music. He uses the machine about half the time both in concert and on his latest recordings. As he says, "I don't want it to completely wipe out everything else I've done on the guitar up to this point"


Beer is his second passion. Some guitarists were annoyed to find that a good chunk of his "Reaching for the Uncommon Chord" instruction book was instead a dissertation on beer. Corporate sponsors take note: In domestics Holdsworth likes Northern California's Sierra Nevada, the Seattle microbrews Red Hook and Ballard Bitter, and of the majors he admires Coors' delicacy and hops-to-bottle quality control. That's a Spaten Franziskaner Weis being poured in digital stereo at the end of "City Nights" on the "Secrets" album.
Originally an aspiring reed player, Holdsworth didn't pick up the guitar until he was 17 years old. "I played saxophone and clarinet and I wanted to play oboe, but I had problems with my ear. I kept popping it from blowing and getting ear infections, so I had to stop. It was some kind of peculiar physical thing where all the pressure would build up in one place. I don't know - I guess I wasn't supposed to play a wind instrument"


Working at home, without the worry about the expense of studio time, Holdsworth said he felt free to take as long as he wanted to record the solos and experiment with sounds using his crowded racks of equipment.
When he switched over to guitar he was still interested in getting a saxophone kind of sound, which led to all kinds of early experimenting with amplifiers and sustain. "I guess consciously since I've started on the instrument I've been trying to get the guitar to sound more like I was blowing it than plucking it, as such. I remember having this little 15-watt amplifier that my parents had bought me, and there'd be a certain volume I'd play at with this thing where it would feedback and sound really great, a more hornlike quality than anything I had heard before. Then I'd plug my guitar into somebody else's amplifier and it would sound completely different. That interested me very much, so I'd try and figure out how the whole electronics thing worked. My father had a friend who built amplifiers and I'd get some lessons with him, so I gradually became aware of what was happening with the sound once you'd pluck a note. From there I'd try to hone in on it - make an amplifier that did exactly what I wanted it to do!'


For someone who's never satisfied with his work, all that freedom may not be a good thing.
Today Holdsworth's rack of electronic gear does everything he wants it to do. His onstage setup consists of four amplifiers - a pair of amps for his rhythm guitar sound and another pair for his lead sound with a lot of different delay lines on each. "Basically, on the lead sound I use the regular guitar sound and add a bit of digital reverb and a long delay. And for the rhythm I use a 1ot of delay lines set up for multi-chorusing. I like to create a real random kind of situation so that you know it's stereo but 'you can't actually pinpoint at any time what's happening to it. It's all just kind of moving"


"I think I drove my family nuts," he said. (Holdsworth's wife, Clair, sings on one track. They have three children.) "I'd basically get up, come down here and work until I couldn't stand up anymore, go up to bed, and do it again the next day. Even if I found something I liked, I'd still want to experiment and push it one step further. But I'd be recording countless solos and then erasing them. And sometimes, when you've worked on something for such a long time, you have no perception of what it is. I'd listen back to something and say 'This is not happening' and start all over again, but a week later I'd be looking for a cassette to record on and come across the thing I'd discarded and find it was OK. I do that too much."
After a longstanding relationship with Charvel guitars, he's switched over to Ibanez. "They designed a guitar for me, the Ibanez AH-10, which we worked on together for over a year. They almost gave up on me in the end because I kept demanding so many changes. But I'm really pleased with what they eventually got. The guitars I've got now are the best instruments I've ever owned. It's very light wood for maximum sustain. It's more expressive than anything I've ever played before!'


Being so consumed with his passion for music, Holdsworth says, makes him fear his family life is suffering. "I'm pretty selfish, I think. I'm probably a terrible dad. I don't do too much with my kids. Obviously I love them and everything, but I just stay here in the studio all day.
Holdsworth credits much of his astounding technique to the fact that his first teacher, his father, the late Sam Holdsworth, was a piano player and not a guitar player. "He used to help me with chords and scales, and since he wasn't a guitar player he couldn't tell me how it was to be done on the guitar. But he could tell me about the music. So while I did learn the music from him, I had to apply my own logic to everything.


"When I was younger, I was only concerned with the music. What happened tomorrow didn't concern me, as long as I could play today. And my day-to-day life is still pretty much like that. But I do worry about it now, because having a family changes everything."
"I remember seeing other guitarists who were a lot better than me at the time, and I'd notice how they'd be using only two or three fingers on their left hand. They all had their pinkies curled up in a little knot there. And this was an incredible waste of energy to me. I thought I should use all the limbs I've got, so I started practicing seriously with all the fingers on my left hand!'


Income for Holdsworth arrives in the fitful spurts typical of most working musicians, and he said it doesn't help the home finances that his music requires constant investment in new equipment. But it's a rotating door; equipment is also sold when he's exhausted its potential for him or when the cash flow is particularly thin. He turned down a number of needed paying gigs while mixing the album, hence, the board he mixed it on has since been sold.
He adds, "People who have heard me think that I have very long fingers - [being] able to reach and stretch to all these odd chord voicings. But my hands are not big at all. I just acquired this dexterity through repetition and practice. I didn't know it wasn't supposed to be done. It just seemed perfectly logical to me at the time!'


One such investment, made a couple of years ago, is the SynthAxe, a futuristic synthesizer that looks as much like a Klingon battle cruiser as it does a guitar. It is something Holdsworth has become very close to, he said, in part because, with a "breath-controller" tube to his mouth, he can achieve the expression of sax players he admires, such as John Coltrane and Cannonball Adderly.
At home he continues to practice "unusual scales or anything that I feel I'm really bad at. I practice playing over chord sequences, for example. I want to be able to reach a point where I can improvise without falling back on anything. Because sometimes when you play and you're in a gig situation, you kind of dry up and you fall back on the things that you've learned - all the things that you've practiced. And that's really when I feel bad, because then I'm just doing the parrot thing, I'm not really playing. I live for those few moments when I'm really playing and coming up with new things. "Some guys practice certain things so that they'll be able to play them on a gig. I never do that because I would feel that I only got good at practicing. That way, I really didn't learn anything new at all. So when I practice, I try and improvise and play something different on the same theme each time, as many variations as I can think of without ever repeating myself!'


It also cost in excess of $10,000, and he was able to buy it only after a delinquent renter forced the Holdsworths to sell a flat they owned in London. All the money cleared in that sale went toward the SynthAxe, Holdsworth said, "much to my parents-in-law's disgust."
Sounds like jazz to me. And yet, Holdsworth has always had trouble getting airplay on jazz radio stations. Rock stations too, for that matter. "A jazz station will be reluctant to play any tracks on an album like Metal Fatigue, even though there might be a few cuts that could legitimately fit into their programming. Because there are also some tracks that swing more toward the rock direction they think, 'Ohmigod! This is a rock record!' And conversely, the other thing that happens is the rock stations won't play it because it's not commercial enough and they think it's kind of jazzy. So we don't get either!'


The Holdsworths moved from London to Tustin in 1982, after visiting a musician friend and deciding they liked the area.
He's hoping that unfortunate thinking will change with the release of Atavachron, his second album for Enigma Records. "I guess some people think that I play the rock thing just because it's more commercial and that it will help sell records. And that's actually not the reason at all. It's just that I love certain things about rock music and I want my music to be a combination of both things-rock and jazz. But instead of it being liked by both camps it scares people from both sides away from it, which leaves me in this no-man's land in the middle. So I'm trying to get away from that with this new album - see if we can get over with a jazz audience!'


"And I still like it, though even in the short time I've been here, I've seen it change a lot. It's a shame, really. All that land just gets eaten up so fast." An avid bicyclist who frequently rides Santiago Canyon, he noted, "Now I have to go five or six more miles when I ride before I get to where there's no more houses."
[[Category:Press]]
 
He'll be spending less time at home this year, though, as he will be supporting the "Secrets" album with tours in the United States, Canada, Europe, Japan and Australia.
 
For Holdsworth, though, the excitement of a tour is accompanied by the specter of a bad gig.
 
"It's the most horrendous feeling for me. When I have a bad night, I'll feel I'm forcing everything and falling back on things I've played 1,000 times before because nothing's working. I hate that feeling. At that point in time I want to die, or at least leave. Later, I'll think, I must find a way to make sure that never happens again. It's a great motivation, so I'm glad I don't like it."
 
And then there are the times when there is magic to make it all all worthwhile.
 
"If I detested everything I did, I'd decide I had the wrong job. So it's not completely like that. Sometimes your ideas are flowing, and all the musicians are operating like one being, and you're not quite sure where it's all coming from.
 
"With the really great improvisers I've heard, there's obviously all the work they've put into their ability and control of their instrument, but then there are just these magic things that happen. I don't know how much I'll ever get there--the more you learn, the more you realize you don't know.
 
"But I really love music, and I feel it's a strange kind of language which almost in some ways is on a higher level than speech. It feels to me that it has some cosmic force. Sometimes it feels like it's connected with outside, like something else. I'm afraid I really can't explain it without sounding like a true imbecile."
 
Allan Holdsworth plays tonight at 8 at Hamptons, 3503 S. Harbor Blvd., Santa Ana. Tickets: $15. Information: (714) 979-5511.

Revision as of 13:46, 28 October 2023

Summary: Allan Holdsworth, a pioneering and innovative guitarist, is celebrated for his unique approach to playing the guitar. He blends rock and jazz elements in his music. Holdsworth is also known for his use of cutting-edge technology like the SynthAxe, which sets him apart in the world of guitarists. Despite his extraordinary technique, he faces challenges in getting airplay on both jazz and rock radio stations, as his music straddles both genres. His commitment to innovation and experimentation continues to drive his musical journey. [This summary was written by ChatGPT in 2023 based on the article text below.]

Allan Holdsworth's New Horizons

Downbeat, November 1985

Bill Millkowski

"There's a guy named Allan Holdsworth that probably won't get the recognition he deserves because he's too good. If you play guitar and think you're good, just listen to that guy.

-NEIL SCHON (JOURNEY)

"When it comes to putting all the elements together Allan Holdsworth has got it. I give him more credit than anyone for just pure expression in soloing. He has something totally beautiful."

-CARLOS SANTANA

"He plays so much, he covers everything. A totally comprehensive player. He's one of those revolutionary guitarists:'

-LARRY CORYELL

"Holdsworth is the best in my book, He's' fantastic. I love him."

-EDDIE VAN HALEN

"For me, Allan Holdsworth is doing the most interesting things on electric guitar."

-STEVE KHAN

Just who is this guy Allan Holdsworth, and why are they saying such wonderful things about him?

A pioneer in the fusion movement of the '70s with such legendary instrumental groups as Soft Machine, Gong, U.K., Tony Williams' Lifetime, Bill Bruford's bands, and Jean-Luc Ponty, Holdsworth stands today as one of the most distinctive and innovative guitarists in the world. His incredibly fluid technique and his unique scalar approach to soloing ("I tend to hear flurries of notes as a whole, from beginning to end, rather than hearing one note after the other") have made him the envy of countless aspiring guitarists looking to break away from rock and blues cliches.

His seamless style of playing melody lines or improvising over a myriad of chord changes more closely resembles the legato approach of a saxophone player than the normally percussive attack of a guitarist. You rarely hear any picking sound or blunt attack when Holdsworth wails. Instead you get flowing lines that whoosh by so quickly and flawlessly that you simply can't begin to imagine what his right and left hands are doing.

But that's only the beginning. As if Holdsworth's astonishing technique weren't enough to digest on its own, now the guy has gone out and acquired a new piece of technology that adds a whole other befuddling aspect to his already awesome arsenal of effects.

On his latest Enigma album, Atavachron, the revolutionary guitarist takes one step further toward Mars with a new and revolutionary piece of hardware, the SynthAxe. The product of several years of painstaking research, the SynthAxe is England's answer to the guitar synthesizer. But unlike that popular Roland product, the SynthAxe makes no sound of its own. What it is, basically, is a controller for synthesizers, capable of interfacing with Fairlights, Synclaviers, or any MIDI-equipped synths. This thing is strictly high-tech to the max, and Holdsworth feels it positively renders all other guitar synthesizers obsolete.

"It's really in a field of its own. It's an amazing machine. I'm so in awe of the whole thing. I'm still trying to figure out why anyone would've gone through that amount of trouble; and believe me, they did go through an awful lot of trouble to do this. They're totally pioneering something in a certain direction that no one has ever done before. There isn't anything even close to it. There probably will be in a few years time when other companies start copying them, but they've laid the groundwork and therefore I think they deserve credit for that"

"They" are British inventors Bill Aitken, Mike Dixon, and Tony Sedivy, who began developing this revolutionary machine around 1980. Along the way they were aided in the design of the SynthAxe by Ian Dampney and Ken Steel. Take a bow, gentlemen.

Perhaps the most significant feature of the SynthAxe is the fact that it doesn't work on the pitch-to-voltage principle, as do most of the other guitar synthesizers currently available. Though many guitar synth users have waxed enthusiastic about the sounds available on their instruments, they sometimes express reservations about the tracking problems inherent in the system. That is, there is a 10th-of-a-second or so delay from the time a note is struck to when the sound is actually produced. This inevitably forces guitar players to alter their own techniques to suit the demands of the instrument. Some, like Pat Metheny and John McLaughlin, don't mind this too much, considering the synthesized guitar's other advantages.

According to Holdsworth, "The pitch-to-voltage principle has some inherent problems that you can never really surmount. When I first played a guitar synthesizer it kind of opened up one door and closed another one immediately. Like, all of a sudden I had all these sounds I could get, which was great, except I couldn't really use them in a way that I wanted to because I was limited by the way you have to use the machine. And I hate that. I hate being dictated to by a machine. It's just a very disobedient machine, if you will. It takes a long time to decide what note you played, and also the wave length of a low note is bigger than a high note, so all the low notes come out slower than the high notes. But when I played the SynthAxe for the first time, I knew it was definitely going to be the way to go. I felt like it was made for me. Now I have a controller of synthesis that is an obedient machine, at last."

The SynthAxe has a highly sophisticated series of sensors under the surface of the fingerboard to relay information to the synthesizers. These sensors detect such subtleties as string-bending, damping or muting with left and right hands, dynamics, and just about every normal function of a guitar except for harmonics. Other features of this incredible new instrument include automatic hold, which creates drone notes to play on top of, and an automatic trigger-mode which allows the player to sound notes by tapping the fingerboard with left hand only (a la Stanley Jordan or the Chapman Stick.)

"There's so many functions of the instrument that I haven't actually gotten into yet," says Holdsworth. "There's so much to learn, and I guess one of the interesting things about it is that everybody is going to find something different to do with it. As for me, I don't want it to sound like a keyboard or anything. I just want an instrument that I can play in such a way that my personality is still visible through it all. And now I've got a machine that will do that.

One drawback with the SynthAxe is the fact that the fret spacing is fairly even as you go up the neck, rather than getting narrow as you approach the bridge. This makes chording fairly difficult at that high end of the neck. "There are certain chords that I can't play on it. I just can't reach that far. Chords that I had been used to playing on the top third of the regular guitar neck were suddenly impossible for me to play on the SynthAxe. That was the only single problem I've had with it, and I understand that they're going to be offering a few more neck options as they begin marketing them to the general public. But there's such a lot of work involved in the circuitry of the neck itself that it would be a very expensive proposition at this point in time to make a different neck for me.

The SynthAxe has not completely taken over Holdsworth's music. He uses the machine about half the time both in concert and on his latest recordings. As he says, "I don't want it to completely wipe out everything else I've done on the guitar up to this point"

Originally an aspiring reed player, Holdsworth didn't pick up the guitar until he was 17 years old. "I played saxophone and clarinet and I wanted to play oboe, but I had problems with my ear. I kept popping it from blowing and getting ear infections, so I had to stop. It was some kind of peculiar physical thing where all the pressure would build up in one place. I don't know - I guess I wasn't supposed to play a wind instrument"

When he switched over to guitar he was still interested in getting a saxophone kind of sound, which led to all kinds of early experimenting with amplifiers and sustain. "I guess consciously since I've started on the instrument I've been trying to get the guitar to sound more like I was blowing it than plucking it, as such. I remember having this little 15-watt amplifier that my parents had bought me, and there'd be a certain volume I'd play at with this thing where it would feedback and sound really great, a more hornlike quality than anything I had heard before. Then I'd plug my guitar into somebody else's amplifier and it would sound completely different. That interested me very much, so I'd try and figure out how the whole electronics thing worked. My father had a friend who built amplifiers and I'd get some lessons with him, so I gradually became aware of what was happening with the sound once you'd pluck a note. From there I'd try to hone in on it - make an amplifier that did exactly what I wanted it to do!'

Today Holdsworth's rack of electronic gear does everything he wants it to do. His onstage setup consists of four amplifiers - a pair of amps for his rhythm guitar sound and another pair for his lead sound with a lot of different delay lines on each. "Basically, on the lead sound I use the regular guitar sound and add a bit of digital reverb and a long delay. And for the rhythm I use a 1ot of delay lines set up for multi-chorusing. I like to create a real random kind of situation so that you know it's stereo but 'you can't actually pinpoint at any time what's happening to it. It's all just kind of moving"

After a longstanding relationship with Charvel guitars, he's switched over to Ibanez. "They designed a guitar for me, the Ibanez AH-10, which we worked on together for over a year. They almost gave up on me in the end because I kept demanding so many changes. But I'm really pleased with what they eventually got. The guitars I've got now are the best instruments I've ever owned. It's very light wood for maximum sustain. It's more expressive than anything I've ever played before!'

Holdsworth credits much of his astounding technique to the fact that his first teacher, his father, the late Sam Holdsworth, was a piano player and not a guitar player. "He used to help me with chords and scales, and since he wasn't a guitar player he couldn't tell me how it was to be done on the guitar. But he could tell me about the music. So while I did learn the music from him, I had to apply my own logic to everything.

"I remember seeing other guitarists who were a lot better than me at the time, and I'd notice how they'd be using only two or three fingers on their left hand. They all had their pinkies curled up in a little knot there. And this was an incredible waste of energy to me. I thought I should use all the limbs I've got, so I started practicing seriously with all the fingers on my left hand!'

He adds, "People who have heard me think that I have very long fingers - [being] able to reach and stretch to all these odd chord voicings. But my hands are not big at all. I just acquired this dexterity through repetition and practice. I didn't know it wasn't supposed to be done. It just seemed perfectly logical to me at the time!'

At home he continues to practice "unusual scales or anything that I feel I'm really bad at. I practice playing over chord sequences, for example. I want to be able to reach a point where I can improvise without falling back on anything. Because sometimes when you play and you're in a gig situation, you kind of dry up and you fall back on the things that you've learned - all the things that you've practiced. And that's really when I feel bad, because then I'm just doing the parrot thing, I'm not really playing. I live for those few moments when I'm really playing and coming up with new things. "Some guys practice certain things so that they'll be able to play them on a gig. I never do that because I would feel that I only got good at practicing. That way, I really didn't learn anything new at all. So when I practice, I try and improvise and play something different on the same theme each time, as many variations as I can think of without ever repeating myself!'

Sounds like jazz to me. And yet, Holdsworth has always had trouble getting airplay on jazz radio stations. Rock stations too, for that matter. "A jazz station will be reluctant to play any tracks on an album like Metal Fatigue, even though there might be a few cuts that could legitimately fit into their programming. Because there are also some tracks that swing more toward the rock direction they think, 'Ohmigod! This is a rock record!' And conversely, the other thing that happens is the rock stations won't play it because it's not commercial enough and they think it's kind of jazzy. So we don't get either!'

He's hoping that unfortunate thinking will change with the release of Atavachron, his second album for Enigma Records. "I guess some people think that I play the rock thing just because it's more commercial and that it will help sell records. And that's actually not the reason at all. It's just that I love certain things about rock music and I want my music to be a combination of both things-rock and jazz. But instead of it being liked by both camps it scares people from both sides away from it, which leaves me in this no-man's land in the middle. So I'm trying to get away from that with this new album - see if we can get over with a jazz audience!'

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