I usually make music with a guitar in my hands. When I record guitar, I’m constantly listening to timing in a very physical way: how a note sits against the grid, whether the phrase is pushing or pulling, how long a note should ring, and exactly where the ending of the note should land. Even small differences in touch, length, and release can change the whole feeling of a performance. For this project, I left my guitar on the stand and spent a day learning LMMS. The goal was

A short production experiment: turning a solo live guitar clip into a fuller arrangement by adding slide guitar, guitar textures, drums, and bass while keeping the original live feel at the centre.

A friend entrusted me with a classical guitar that had clearly been deeply cared for. I could probably say it was “given to me,” but I still do not feel fully comfortable putting it that strongly. For now, what feels more honest is that something precious has been placed in my hands for a while, and that I am being allowed to spend time with it carefully. I have spent many years with steel-string acoustics, archtops, and electric guitars, but this is the first time I have had