BIOGRAPHICAL PROFILE/TECHNICAL BRIEF Keith Petty embarked on a musical journey starting in 1988, a pivotal year for cerebral rock and roll. The release of two landmark progressive-rock albums, "Rush's" Hold your Fire and "Blue Oyster Cult's" Imaginos ensured a continuing fascination with all things musical, with special emphasis on songwriting and compositional components taking center stage. Thus it is here where his interest in the creative/recording arts began to truly take form starting with a series of lessons performed on a number of first generation all analog synthesizers. Considered obsolete instruments by the technological standards of the day, as compositional tools they offered unprecedented advantages above and beyond the defacto standard of keyboard instruments, the acoustic piano. Ultimately his acquisition of the all digital Korg M1 in 1989 was to completely blow the lid off previous conventional songwriting techniques. A period of neo-classical instruction complemented by a heavy regime of musical experimentation provided balance and equilibrium during the early 1990's. Cognitive of becoming stereotyped as "just another keyboard player", Keith adopted and embraced the philosophy of expending maximum creative energies during the songwriting process, something incidentally relatively few recording artists today seem to emphasize. While several draft compositions were scored during this period, it wasn't until the introduction of affordable (albeit underpowered) digital recording technology several years later, that it was actually possible to assemble these tracks in a preliminary construct. By 1991 a polished five song progressive rock instrumental demo was in circulation that received positive reviews and it wasn't too long before several potential offers were on the table from various music publishers, producers, and attorneys; the dreaded "dirty business" angle. Ultimately however this demo project vanished into the now familiar "virtual abyss of obscurity" and was soon forgotten. Keith continued songwriting and performing throughout the late 1990's and eventually gained favor with a Grammy nominated producer. Dropping the domestic US market (which was in dire straits) in favor of pursuing the often overlooked European market initially proved highly beneficial. Several new requests for additional material were put forth from European label execs and the end result was a second demo. This second demo culminated in six months of grueling in-studio work and was intended to "close the deal". Unfortunately European marketing models often tend to follow American marketing models (which is not necessarily a good thing) and no record deal materialized seemingly condemning the project to a premature death. In 2002 Keith decided that the time was right to finalize the project once and for all and present "The Kirlian Effect" as was originally conceived in an uncut, non-truncated format. The project was to be completely rescored and digitally remixed/remastered over a protracted three year period. Although the basic tracking process would essentially remain the same, the availability of next generation digital recording technology ensured pristine quality throughout resulting in a product with vastly superior specifications over the original all analog masters. Keith continues to perform, record and score various projects for the soon to be released sequel to the "Kirlian Effect" CD as well as other sideline applications.
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