Watch the Pitch Shifting Effects online guitar lesson by Chris Buono from Funk Fission
Before I touched a guitar, the first music I found on my own (meaning, something other than the glut of classic rock that I was hypnotized with) was hip-hop. Along with the grooves, my main attraction was what the DJ was doing, not the MCs. All the cuts, and scratches, and mixing of records was so cool and it has stuck with me throughout my entire musical existence. I’m also extremely interested in all things electronic music and the production behind it (as evidenced in my attention to the hip sounding drum tracks I produced for Funk Fission that were produced in Ableton Live). In the spirit of both worlds I use a Digitech Whammy II to help get the sounds that plague my sub-consciousness into yours such as record scratches and arcane pitch manipulations that sound as if I’m doing something very wrong. Also, this is where my First Act custom comes into play big time. I designed that instrument to allow me to do things that were just not coming to life no matter what I tried.
What you see and hear me do in the next segment with the Whammy is just one of many applications with this incredible piece of innovation. Perhaps the most addictive technique I use with the Whammy II is using it in a way to assimilate single note analog synth-type textures into my soloing as heard on the track linked below (along with other concepts presented in this course). This is an excerpt from a tune called “Fumble Fingers” I did for a shred guitar compilation called The Alchemists II for the British version of Shrapnel records, Liquid Note Recordings (LNR). I co-wrote this tune with the amazing Canadian guitarist Dave Martone and we were lucky enough to get death metal drum deity, Gene Hoglan, to do the session. The solo starts out with an unaccompanied collage of mêlée courtesy of my 4ms Triwave Picogenerator with Gene coming in at the end in the style of Keith Moon ala “Won’t Get Fooled Again” (there’s that classic rock crib education rearing it’s ugly head once again). Eight bars of the Frantone Glacier set to square wave and maximum wet mix fed into a Fuzz Factory follow that foray. From there, I take off to the point of ‘know’ return (I can’t help it) for 16 bars of Whammy madness that is of course made possible by the Fuzz Factory pounding a phat, molten lava-like saturation into it (see next segment for why that signal chain is the way to go).DigitechDave Martone4mS