I've finished the Telecaster tracks on GodProg:Enlightenment, and moved on to :Omnipotence.
There's something about the Telecaster... it just sounds so great. In some ways it is sad to replace the existing tracks, which feature the Ibanez 540s, my old faithful. But it's all about the tone, and the Telecaster's got it.
The end of the track has a solo in some freaking strange time signature, reminiscent of Siberian Khatru but I don't care.
The GodProg suite is slated for Album#2 so technically I'm not supposed to be working on this yet. But the only way I've found to keep moving forward is to follow the muse.
Still working on Enlightenment guitars. The Telecaster continues to shine.
OK, So this year I got a craving for one of these, and I don't know why. Perhaps it was retroactive craving, because now that I have one, I'm loving it and wouldn't want to do without it. I've used it on every track I've worked on since it arrived, bullying its way into the studio and pushing the other electric guitars aside.
I have replaced the tuners with Steinberg Gearless ones, partly because I've always wanted to try them, and partly because the stock tuners were probably the weakest component out of the box. Tuning the guitar up didn't feel as solid and reliable as I felt it should be. Also - the black tuners are sexier than the old chrome ones.
This virtual instrument really kicked my drum tracks up a notch. There are other products out there that are comparable, but this one hit a nice price point for me. Recommended.
Notes - December 2005:
Cloud Chamber is the first completed track of a suite of instrumentals, a side-project which I have tentatively dubbed "Maxwell Tangent's Divergent Thinking". Musically it's ambient, techno, loop-based instrumental music with plenty of guitars and processed natural sounds. But it's early days, it could end up going in a different direction. I hope to have each track segue seamlessly into the next one in order to make one long piece of music. So far the tracks are being written in reverse order, because Cloud Chamber is the final movement.
I was working on this track on the later half of 2001, and therefore I've dedicated it to the victims of the World Trade Center attack in September 2001.
Not much to say about this. I've been using Cakewalk Windows-based sequencers and audio recorders for 15 years. Upgraded with goodies and new features almost every year, never begrudged the upgrade tax. SONAR 8 is pretty much perfect. Check out the user forum, it's an excellent resource.
Dimension Pro was Cakewalk's flagship virtual synthesizer for a few years, at least until Rapture came out*. Dimension LE was bundled with SONAR 7, but I didn't really use it seriously until the "pro" version was bundled with the SONAR 8 Producer upgrade. It included an impressive sound library, particularly some wonderful string section patches which I've started to use.
* Now Rapture LE is bundled with SONAR 8.5. I detect a trend.
Until recently, the two front runners in the virtual piano race were TruePianos and Modartt PianoTeq. TruePianos was slightly more affordable and was generally thought to be more playable and realistic, while Pianoteq, although an impressively flexible and powerful piano model, suffered from artificial overtones. Since Version 3 of Pianoteq, this is no longer true, in my opinion. Pianoteq has seen some impressive upgrades and options and is definitely worth the additional expense.
However, I've stuck with TruePianos. It's still a very inspirational virtual instrument.
Ah, my trusty multi-effects unit. I can't remember where or when I purchased this but it was my main guitar FX for years until I realised what the tube amp afficionados were on about. This has mediocre distortion and compression when compared to what's available these days, but in my opinion the delay and reverb algorithms are outstanding. I now run the fx loop out to my POD for compression and amplifier modelling duties.
I have the floor-board for this, but I don't use it since I accidently unplugged it while the power was on and it reset the patch memory. Disaster.
Amplifier modelling is the best thing to happen to recording guitarists since the invention of the Floyd locking nut. In my opinion.
I have been unable to get a decent bass patch out of this thing, though. I know it's theoretically possible (albeit it is a guitar effect unit) and there are instructions on the Line 6 web site. I should try following them sometime.
This is one of the few pieces of equipment that made me scrap my existing recordings and rework them, this time with the lead and rhythm guitar using the POD. I didn't know what I'd been missing.