Steve Vai – Touching Tongues (Sex & Religion)
Vai combines a whammy pedal and delay to create complex harmonies and countermelodies in the chorus of this track from 1993’s Sex & Religion album. Very musical, very creative and very cool.
Living Colour – Wall (Stain)
With a delay effect keeping the groove going, bass player Doug Wimbish picks out certain notes to emphasise with the Whammy pedal before shifting the whole friggin’ riff up an octave over the course of the final bar of the intro. Awesome.
Pantera – Becoming (Far Beyond Driven)
Dimebag stomps on the Whammy pedal on the second beat of each bar of this killer riff. Live he liked to rock out without having to worry about pedals, so his tech did all Dime’s Whammy squealing for him.
Audioslave – Like A Stone (Audioslave)
Tom Morello uses the Whammy Pedal almost like Eddie Van Halen sometimes does with the whammy bar, using it to slide into each note from below. Awesome.
Pink Floyd – Marooned (The Division Bell)
The Whammy Pedal usage in this song is pretty subtle on first listen. David Gilmour uses it to stretch bends out over an octave, but he blends it in with his regular playing style so seamlessly that you can be forgiven for not even noticing.
Joe Satriani – Cool #9 (Joe Satriani)
The Whammy Pedal had been available for a while when Satch released this track on his low key, live-vibed self-titled album, and he’s used the pedal a lot since, but the open space provided by the vamp of this track leaves plenty of room to hear Joe’s intuitive Whammy Pedal technique in detail.
Coverdale/Page – Over Now (Coverdale/Page)
Jimmy Page uses the original WH1Whammy Pedal’s ‘Down 2nd’ mode to slide an A5 chord down to a D5. This setting is still present in the WH1, but these days they call it ‘Drop Tune.’
The White Stripes – Seven Nation Army (Elephant)
What sounds like a bass on this track is actually a Digitech Whammy Pedal with the pitch dropped way down below the basement. While Jack White loves his vintage analog gear, he’s obviously not shy about the occasional digital chip either.
Press release time:
Eastwood Guitars debuted their new AIRLINE® ’59 Custom Series guitars to rave reviews at NAMM 2009 earlier this month. The Airline ’59 Custom 2P and 3P are the first guitars in the new Airline Custom Series and have elevated the quality reputation of Eastwood Guitars to a whole new level.
The ’59 Custom guitars deliver many new features to the AIRLINE brand. These guitars feature a unique rubber binding which surrounds the entire body, and replicates the esthetics of the original Airline Res-O-Glas guitars. Additional cosmetic details include a striped pickguard, aluminum tone switch plate and available NOS Valco knobs. Both the ’59 Custom 2P and the ’59 Custom 3P guitars are fitted with the high output Airline Vintage Voiced Single Coil pickups. These models ship in the new Vintage Style Deluxe form-fit AIRLINE hardshell case with steel plate logo.
“It has been five years since I asked our engineering team for that rubber binding”, stated Mike Robinson, President of Eastwood Guitars, “and I can say it was definitely worth the wait. Over the past six years, our AIRLINE series has built a great reputation for playability and tone, but now we are setting a new standard in guitar esthetics with the new ’59 Custom Series”.
The Airline ’59 Custom 2P is available in red and the Airline ’59 Custom 3P comes equipped with a BIGSBY tremolo and is available in black or seafoam green. Both new models are in stock now and are shipping worldwide.
For more information, visit their web site at http://www.eastwoodguitars.com/.