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Watch the Time-Based Effects online guitar lesson by Chris Buono from Funk Fission

We all have our individual sounds and/or techniques that are completely ours. So much so, you could be doing something that’s unapologetically cliché and still ‘own’ it because of how you do it. For example, when someone plays the lick of licks (think Jimmy Page’s opening lick to the “Whole Lotta Love” solo), if they have a certain something to their playing you know who it is regardless if they’re playing one of the most played out musical motives in recent history. What you're about to see in this segment may be my piece of the signature sound pie. Armed with nothing more than a Boss digital delay (any DD-x model) and an Ernie Ball mono volume pedal, I can create tapestries so monstrous they sound as if they’re swallowing the room.

In regards to the delay used in this segment, I must admit, Mike Piera (aka Analog Man) heavily modified the Boss DD-5 seen here. In addition to his Kill Switch mod and Expression Pedal mod, Mike put in his High Pass Filter mod that cuts the high end from the delay’s feedbacks at varying degrees. This warms up the sound of the repeats making for a more analog delay-type grunge that sounds dirtier (in a good way) than the seemingly cold digital repeats often heard from these types of delay pedals.

To satisfy the remaining parts of the mystery behind the track I included with the Phaser: Part 1 segment, “In the Cage of Grouis Banks” from Graham Haynes’ Full Circle, the Bi-Phase was in the chain of my signature delay pads setup described here. By setting the feedback control to near infinite on my DD-5, I created the lush backdrop that I play some ring mod melodies over as well as filter sweeps on the Resonator. You’ll never, ever catch me saying, “I hate my job”.

Boss
Ernie Ball
Analog Man