| AZ - Mission: Impossible 2 - Paint Peeler Version |
Track 1 |
The version has the famed, but updated fuse and the sound of a sophisticated punk tune.
All using the POD 2.0. The rhythm tracks used the Boogie Rectifier into the 4x12 Line 6
cabinet, Brit Hi Gain JCM-800 into the 4x12 cabinet with Vintage 30's and the Brit Classic
Plexi into the 4x12 cabinet with Vintage 30's. The guitars used were a '64 Gibson
Kalamazoo and a Danelectro DC-59. The lead tracks used the Soldano X88R into the 4x12
Line 6 cabinet. The guitar was the '64 Gibson Kalamazoo.
|
| Ken Koch - In My Mind |
Track 2 |
The exact patches used on the song were not available. (I only had the POD 2.0 a week
or so at that time). I tweaked one of the rectifier presets for rhythm parts, the Soldano
for leads and one of the Fenders for the clean parts.
|
| Chris Adam - Serious Fun |
Track 3 |
Recorded direct through a POD with 2.3 chip.
Guitars used: A Gibson Les Paul 59 Reissue for the heavy chords in the middle
section. Everything else is my favourite "el cheapo" (well actually it says
"Collins" on the headstock) korean strat with stock pickups. The bass is a
Warwick copy from an English company called "Tanglewood".
Soundiver settings below:
Crunch sound (rhythm guitar and crunchy solo):
JCM 800 with Fender 2x12 cabinet
Drive=9 Bass=63 Mid=41 Treble=29 Presence=63 AIR=31 Compression=6:1
Heavy rhythm (in the middle section):
Line 6 Insane with Line 6 4x12 cabinet
Drive=14 Bass=17 Mid=11 Treble=8 Presence=63 AIR=12 Compression=1.4:1 EQ switch=on
Solo sound:
Line 6 Insane with Line 6 4x12 cabinet
Drive=17 Bass=15 Mid=60 Treble=7 Presence=63 AIR=12 Compression=1.4:1 EQ switch=on
The Bass was recorded through a Fender Blackface model with matching cab sim. I don't
have the exact settings, as I just turned knobs in manual mode until it sounded right
and then hit record.
Production-wise the whole thing is written, played, recorded and mixed by me,
everything was done in cubase 5.1, the drums are courtesy of a native instruments
"battery" drumsampler. I used some low cut and a slight boost around 350hz on the
lead guitars, some serious high and lowend boost on the heavy guitar in the middle
section and applied a stereo delay where needed during mixdown (the guitars were
recorded dry except for the flanger on the tapping part in the middle section,
which happens to be pod flanger #2 with effect tweak turned up pretty far).
|
| Rich Shrove - Moore Blues |
Track 4 |
The Flextone II XL amp model is the Brit High Gain, the settings were something close to:
Drive-3, Bass-8, Mid-4.5, Treble-6, Reverb-2, no other effects.
I just went direct from guitar to Flextone II XL to SoundBlaster soundcard. There was
no other pre or post processing...really fast & simple. I used my American Strat with
Texas Specials and I switched between all three pickups throughout the song. The song's
backing track is basically Gary Moore's "Still Got The Blues" and I 'm just improvising
through the whole thing. I thought it showed off some pretty cool Flex blues tones.
Brit High Gain is probably my favorite model. It is so versitile. It sounds good at every
Drive setting, from pretty clean to all-out crunch.
|
| August Zadra - Hey You |
Track 5 |
I played my Tele-necked Strat with Texas Special pickups. I ran the Soldano XR88
model, through one of the 4x10 cab sims..no other EQ-ing done. That was my one
concession, was that at least I played single coils on the track, and that I got
to use Pod Pro for that solo. All the other electric guitars are me playing the
Axis through Mark's Soldano HR50. The first solo, which is basically the same as
the recorded version, is played by Mark.
The intro and the outro are ACID loops, with some assorted guitar 'noises' added in.
One last tidbit is that the section before the guitar solo, with the vocoder part -
that was supposed to have a Pink Floyd sample (I forget the song it's from) over the top
of it, and was very cool.. the vocoder is kind of cheesy, but it worked.
|
| Paul Shamell - My Own Mistake |
Track 6 |
I used six Vetta patches on the track (five of mine, and the "Another Brick" preset.)
Guitars are a Hamer Archtop Custom and a Les Paul Custom, both with Duncan 59/JB pickups.
Bass is a five-string Fender Jazz, through the Vetta tube preamp model. Everything was
recorded through a Delta 1010 into Cakewalk Pro Audio 9.
|
| Lance Weiner - Insane TS9 |
Track 7 |
Used the POD 2.3. Soundiver patch details are as follows.
Line 6 Insane with 4x12 Marshall with V30's.
Drive=33 Bass=20 Mid=26 Treble=52 Ch Vol=63
Delay=161 Feedback=0 Level=32 Compression=1.4-1
Noisegate=34....40 Reverb..hall..16..30..36..32..level 6
Recorded with my Jap Strat bridge pickup Dimarzio virtual vintage solo. My TS9 with
an AnalogMike mod was set at Drive 2....Level 7...tone 7. My Behringer MX602A mixer was
set at Treble 6...Mid 6...Bass 4. It was recorded direct to my SB Soundcard.
|
| Sluggo (with AZ on rhythm) - Change The World |
Track 8 |
SLUGGO: The fatter crunch rhythm track used the Rectifer (Tremoverb) setting on the
Flextone HD into a Flextone 212S cabinet. The guitar was an early 70's Gibson Flying V.
The lead solo track at the end used the POD X88R model with a Jackson RR model.
AZ: The other crunch rhythm track and Wah solo used the Brit Hi Gain patch on the
Flextone HD into a vintage 4x12 Marshall cabinet with 25w original greenbacks. The
guitar was the '64 Gibson Kalamazoo. The tremolo rhythm guitar tracks used the Line 6
Twang model on the POD with a '97 Fender AmStd Natural Ash Strat with Kinman AVn pickups.
|
| WallyGatrr - The Guzzlers - Let's Slug One Down |
Track 9 |
The song was recorded on a Protools setup at 8th Note Studios in Houston and engineered
by Ernie Wells. It was recorded on a 1972 Gibson SG, my first real electric guitar. SG
stands for slide guitar doesn't it? ( deep maroon stain on mahagony/ Ebony fretboard/
square inlays), using the bridge pickup. I used a pre-updated POD (my first time ever
using anything Line 6 thanks to the engineer) direct into the mixer using the Modern
High Gain - no effects - drive 6, bass 6, mid 6, treble 7, (this is from memory so the
settings may be a little off). I boosted the gain up a notch or 2 for the slide solo
which was played with a half full Bud Light beer bottle for mood and effect. The feedback
in the intro was gotten by cranking up the studio monitors as I was recording at the mixer.
The tuning on the guitar was a standard open E ( E B E G# B E ). Couple of rhythm tracks
because I think we doubled the part but I'm not sure since we did most of the guitar on
the CD in a two day period and one lead track. We try to record VH I style (everything
live with maybe a solo, rhythm part or harmonies overdubbed only) as much as possible
to capture a live feel.
Website:
Wally and the Guzzlers
|
| Dave Irvine - Power of Ten - One More Time |
Track 10 |
POD Rhythm - Black Panel - double tracked, panned left and ight (a bit)
POD Lead - Matchless
Guitar - American Series Fender Strat, Kinman AVNT Pickups
In to POD, Mackie desk then Roland 1680
Mastered in Sound Forge
Soundiver files:
BlackPanel.LIB
Country.LIB
LatestPOD.LIB
Website:
Power of Ten
|
| Jack Diddy - Soho |
Track 11 |
Soundiver patch details are as follows.
Dirty - Brit Hi Gain based on 90 Marshall JCM - 800
Cab - 4x12 marshall w/stock 70's AIR - 32
Drive - 50 Bass - 63 Mid - 51 Treb - 63 Presence - 0 Ch Vol - 63
Clean - Black Panel based upon '65 Fender Deluxe
Cab - 4x12 marshall w/stock 70's AIR - 32
Drive - 19 Bass - 63 Mid - 60 Treb - 63 Presence - 0 Ch Vol - 38
My gear: 90 Fender Strat custom with Semour Duncan Hot rails in bridge.
The pickup position is bridge/middle in parallel.
Website:
Jack Diddy
|
| Franjo - I Wanna Be Your Dog |
Track 12 |
All tones are Flextone 1 plus with floorboard, no added external effects,
wah is the floorboard pedal.
Right guitar: Fender Strat maple neck with Lawrence l-250s
Brit Hi Gain -- Drive 7-8 Bass 6-7 Mid 6 Treble 7
Left guitar: ESP/Schecter Tele/Strat bastard
Something with the Flex Crunch souped up fairly high and much treble
|
| Dthraco - Pound - Movinvochi |
Track 13 |
All the tracks were recorded onto a 750Mhz PC with a Soundblaster Live sound card,
using Cakewalk Pro Audio.
POD 2.3 was used for the heavy chorus. For this tone, I put a TS-9 Tubescreamer in
front of POD with all the dials at 1:30. The guitar was a Gibson SG's bridge pickup
(Duncan Distortion). The chorus track is doubled. Slightly to the left, I used a
Mesa Dual Rectifier Solo Head sim, and slightly to the right, I used the Dumble Clean sim.
The clean guitar is an acoustic plugged directly in. The Bass was also plugged directly
in. We miked the drum kit in the office of my house using a small mixer.
Soundiver file:
Movinvochi.LIB
Website:
Pound
|
| Leon Chalnick - Leon's Blues |
Track 14 |
Recorded using Cakewalk. (c)2001 Leon Chalnick
Guitars: Rhythm and Melody - Anderson Cobra Leads - Cobra and PRS Custom 22 Soapbar
Amp: AX2
Inspiration: Gary Moore
Website:
PatchWerkz
|
| Dar - The AX2 Test |
Track 15 |
No info.
|
| Edward Rodriguez - Lure - A Night Like This |
Track 16 |
I used a Y2K Honeyburst Gibson Les Paul Classic loaded with 496R rhythm and
Duncan Custom treble pickups. The switch was in the middle position. The basic tracks
featured my POD 2.0, but I used my Flextone HD and Line 6 2X12 loaded with Celestions
too. I believe the POD is still heard on the outro. Unfortunately, I don't remember
what patches I used. I just manually tweaked them in the studio. All I do know is that
the clean tones are of a Fender variety, and the overdriven ones are Marshall. We tracked
using a Digidesign 001 system, and Steve Holroyd (Counting Crows, AC/DC) mixed on a
full-blown Pro-Tools setup.
Website:
Lure
|
| Dale Pietrzak - Just As I Am |
Track 17 |
It was recorded using a MRS4 for the multi-track with the mixing down to stereo using
n-track and Bladeenc for MP3 conversion. The MP3 conversion did kill some of the bass.
There are no post effects, tweaks or alterations, everything on this and everything
sounds just like it was played straight to the recorder.
This is based on a copy of "Just as I Am" in Eb I had at home. It was written for
keyboard so I charted out the chords. Main melody is the original for the hymn, save
verse 3 which is improvised. Verse 2 is played an octave up for some variety.
The Drums and bass were programmed with a Boss DR5. A Jazz Drum Set was used. There are
three rhythm tracks. The 2 acoustic tracks are panned 50% right and 50% left, using an
1/8th note beat with my Martin D15. I mic'ed it with some Radio Shack mic I have had for
a couple years.
The third rhythm and lead tracks were cut using my Schecter PT containing a Seymour
Duncan Alnico Pro II neck pup.
The POD was set to the Dumble Clean sim using a 2x12 Fender cab sim. Eq is noon treble
and bass and 2:30 mids. Channel volume is flat out, as was the master volume. There is
a slight use of reverb on the electric rhythm track and a bit more on the lead. Gain is
set to just break up with the pups when hit hard and cleaner when more mellow. The
compressor is on 2.0/1 and the default noise gate is on.
|
| Greg Domier - Full Sunn |
Track 18 |
It was recorded a few months back, so some of the details are fuzzy! I used a POD 2.
The ryhthm tracks were Vox models and the lead patch was based on the Dumble OD Special.
The guitar used was a Carvin Bolt. The drums and bass tracks were created using a
program called Fuity Loops.
|
| Tristan Klein - The ION Song |
Track 19 |
The main rhythm tracks are from a JCM 800 patch. The big rhythm tracks are Mesa Boogie
combo. The first and second voice is a plexi 50 (warmer than JTM45, but same kind of
texture for me, very good for single coil sound). Solo is my main sound the JTM45 patch,
(perfect for strat' sound).
POD eq is the same for all those patches, bass 10/10,mid 0/10 and treble 5/10. The gain
is always on the maximum level and all those patch were set with maximum compression
(except boogie, I use 6:1 compression with it). The cab were differents from a track to
an other one. I used differents 1x12' from rhythm and severals 2x12 for melodies and
solos. The lead sound from solo is a Vox 2x12 (my favorite).
The drums part is from a zoom DR234, synthesizer is a korg X5D and the Bass is my Cort
Curlow.
For the rest, the song was recorded on Cubasis go 3.0, with db dynamics compressor plug
in, spinaudio roomverb lite and spindelay lite, guitar sounds were equalized with DSGE
eq plug ib (perfect for guitar and free!). I just use a soundblaser PCI 128 wich is
enough if I don't use more than 12 audio tracks at the same time.
Website:
Tristan Klein
|
| Brian (Tripper) Vitellaro - Mars Hall |
Track 20 |
I made it with a bunch of patches that Malhavok posted to the old Line 6 boards back
in early 2001 when he was doing the "amp model of the day" thing - the patches are all
variations of the JCM 800 model (Brit Hi Gain). They are...
1. Solo Les Paul (main rhythm parts)
2. Rawkin' (B section rhythm parts - the really stompin' section)
3. Early Flange (first solo - up through the end of the first B section)
4. Distant Richness (second solo - from the beginning of the first B section through the end)
5. Wickedly (the final bend - in harmony with distant richness)
It was recorded with my Epiphone Les Paul direct from POD (v1.4) to my PC through my
Behringer MX1804X mixer on one of the stereo line channels into my Echo Darla24 card
in Sonic Foundry ACID. The drums, synth, bass, and horn parts are Sonic Foundry Loops.
All guitar parts are the Les Paul into POD.
Patchwizard file:
Mars Hall.PWL
|
| Lex - Every Move You Make |
Track 21 |
No info.
|
| Cory Pettiford - Through The Planet's Core |
Track 22 |
Guitar: Custom-made Hosono Guitar Works Solo, basswood body, maple fretboard,
original Floyd Rose, EMG-81 in the bridge position, EMG-85 in the neck position.
(POD Pro) Amp model: Rectified #2
Cabinet Model: 1978 Marshall w/ Stock 70s (I always use this cab model for recording, even for bass!)
Drive: 10 Bass: 8 Mid: 3 Treble: 10 Channel Volume: 8 Reverb: 4 FX: Delay+Compressor
The signal then goes through a Behringer mixer (1608, I think is the model) then into a
Sound Blaster MP3+ (first generation) to get it into my PC. I use Vegas Audio for
recording, and Sound Forge for editing. It's kind of hard to remember everything, cuz I
usually just tweak out the sound I need using SoundDiver while I'm doing the recording.
I used an old IPS-33 in the effects loop of the POD Pro for the pitchshifting (octave
above).
Website:
Cory Pettiford
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