Before I started creating the different musical pieces for the film scenes, I wanted to create a library of guitar sounds. I was inspired to this by the email correspondence I had with Owen Gurry, (which can be read here) who uses this method to create pieces for the composer that he is working for.
By creating a guitar sound library, I could do the same as Gurry, but instead as using the recordings as a building blocks for pieces, I could create entire pieces just purely from these recordings, but heavily manipulated from editing and effects. In terms of what recordings I made, I attempted to get an incredibly wide variety of sounds, ranging from open strings, octaves of said strings, harmonics and more unusual sounds such as pick scraps, tapping the strings and rumbling sounds, all of which I repeated on each pickup of my guitar. Having this wide variety of sounds allowed me to get very in-depth with the manipulation, but also create unique pieces from the same set of recordings.
Looking back at the pieces I created with the recordings from this library, and something that I discuss in more detail in my report, I find that using pre-recorded works best for certain types of film scene, scenes that are quiet and slow. For example, in my Elevator scene from Drive re-score (which can be found here), I used this method exclusively from one singular recording of an open string.