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Watch the Sequenced Filter Effects online guitar lesson by Chris Buono from Funk Fission

Taking the post-produce concept a step further I exploit the Z.Vex Seek Wah’s inherent ability to set up a fixed tempo-driven sequence of filtering to whatever is sent into it. The type of filtering you hear in this segment is similar to that of what is produced by analog synth step engines and that’s exactly where I got the idea. Ironically it was a guitar player who first put this sound in my head. It was Pete Townshend’s revolutionary use of step sequence filtering with his Arp 2500 and 2600 instruments heard all over Who’s Next that stuck like peanut butter on the brain (I was indoctrinated from the crib with what is now called classic rock by both my older brothers so I heard all these records as they were released all day, everyday.).

Since chords benefit the post-produced delay streams in this it’s important to keep in mind my sentiments about compounding chords in the Time-Based Effects segments. You have to make sure whatever you layer works, but at the same time, don’t be afraid to push the envelope. Right from the onset I lay a closed position Em7 and layer a tense sounding G(b5) totaling a tight sounding Em7(13). Another rule to adhere to is to make sure there’s absolutely no chance of a solid attack on the strings sneaking through and getting thrown into the repeat pool. It will more than likely clash with the rhythm of the step sequence.

To give to you one more example of the Max Wah in the post-produce role as well as segue into the last two segments, here’s a Solitaire tune called “Shoka”. This tunes kicks off and rides a cloud of filter-sequenced changes with sporadic episodes of shrieking melodies overlaid for about half the time until settling into some deep pads with more subdued improvised melodies played over them. The one common denominator between the improvisations are the pedal that shapes their sound, which is the subject of the next two segments.