Same as 1, through a Line 6 Helix distortion (0:40 - 0:49)Ħ. The three previous examples layered (0:30 - 0:39)ĥ. Guitar recorded at -4 semitones, shifted back up on playback and panned right (0:20 - 0:29)Ĥ. Guitar recorded at +8 semitones, shifted down eight semitones on playback and panned left (0:10 - 0:19)ģ. Guitar track without pitch shifting (0:00 - 0:09)Ģ. To demonstrate the power of this technique, I’ve created an audio demo with eight, four-measure sections:ġ. And because you’ll use different voicings (and possibly more than one guitar) when playing in different keys, the layering will be more interesting than just doubling the same voicings. This creates a bigger, differentiated sound than if you layered guitars with the same timbre. You can also apply this technique to multitrack guitars by changing one track’s timbre. Modern pitch-shift algorithms can shift at least several semitones with decent audio quality. Now it’s back in the key of E, like the rest of the song.ĭelete the premix and unmute all the other tracks.įor a brighter, tighter sound, transpose the premix down, play along with it, and then transpose the recorded guitar part up so it matches the project’s original pitch. On playback, use the DAW’s pitch stretching to transpose your recorded guitar part down eight semitones (See Fig. Other programs may include a transpose function that you apply to a selected clip. 1: Right-click on a clip in Studio One to bring up pitch transpose and tune options.
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