Storage is cheap. Don't EVER throw things out. Today's noodling could be the basis of tomorrow's hit.

Nice!! Forget the Marshall, what you need is a vintage Fender Showman! (or a Twin Reverb).
 
I love the tone. Dick Dale meets Sergio Leone meets Neil Young.
 
J

I liked it too Rain.......I also like the not overly mixed sounds that's just recorded well.......give's it a more "live" feel to it. You should work on it some more and offer it (for a price) to a movie/tv production company.

I think we should start a collection to get Rain some more Coronas. 

Rain
Thanks Beep! You know, I've come to the sad realization that most of the time, the more I try to mix, the more I screw up things. :P
 
And you're correct - unfortunately, no Cakewalk products were used. Though I do own all their synths, 2 of them no longer work on OSX and Z3ta has authorization issues for which we're waiting a fix. Not that it would have been susceptible of being used in such a cut.
 
The plugs list:
 
EZ Drummer
Kontakt player for the bass track (because I was too lazy to re-track it)
Logic's Classic Organ
Lexicon PCM Reverb on a buss
IK's Fairchild on the stereo buss to glue things up
Waves L1 for the final mixdown
A very few bands of EQ here and there, using Logic's own EQ.
 
Various guitars all recorded DI with the POD HD300.
 
No compression, no fancy processing, some very crude volume automation in 2 or 3 spots.

Seems you've made some very good choices for your outboard guitar gear which shines on this. That's something I really need to work on. My gear is okay but if I could just squeak out a bit of extra money I think I could really get my input sounding much better. About a grand would probably do it if I watch for specials or used stuff. A proper Gibson tone guitar like the ES style I keep talking about or maybe another SG, a simple but decent tube amp like a Champ or a quality emulator amp like that Yamaha THR-10 that came out a few years back (although I wish it had more output options), at least one really good mic for vox and general usage (SM7B would be nice) and maybe repair some of the classics I have that are toast (I have a 57 that's borked and a couple 58's that aren't all they could be). I need to get my bass pickup fixed too because the case/housing is busted so I can't screw down one side which a) keeps the input from the strings uneven and b) forces me to raise the action higher than I'd like to avoid having the strings hit it causing pops (very annoying). Actually I'd like to see if maybe they could put a classic single coil at the neck (like what I have now) and then maybe an active one closer to the fretboard so I can have the old P-Bass sound and a more modern sound.
 
Ideally if I could drop 2 grand into outboard stuff I would be freaking laughing because all the in the box stuff I have seems to be more than capable of doing everything I need for the foreseeable future. Hoping some stuff I'm working on right now will pay off over the next year or so to make all that happen or I can at least get into a cheaper apartment and toss a bit of money at these things a little bit at a time.
 
One thing I will NOT do is go into debt for it though. The universe will provide when it thinks I'm ready and it forces me to really learn to use what I've got.
 
hmm... bit of a blather there but it's fun to think about and writing it down helps me plan future investments.
 
Anyway... in regards to the bass tone that was one part of the mix that stood out to me and sounded slightly synthy/out of place for such a pure wood and steel/flesh and nail performance. I think I've seen you mention you have Zeta and that it works cross platform. There is a patch in there called Alembic Bass that I really like and I think it sounds very very natural. I haven't used it for a while so maybe I'm remembering it wrong but I was using it to construct a "jam" project with. Essentially the project was just a bunch of standard blues and jazz beats and basslines that I could loop and practice improvising over and that patch worked REALLY well.
 
Not sure if it is in the Classic Zeta Content or the Zeta+2 stuff but it's worth a look. I was surprised to find such a natural sounding patch amongst all the crazy, mind melty synth sounds but there it was.
 
Obviously due to Bapuisms around here it immediately drew my attention which lead me to try it.
 
Cheers.
 
Edit: Actually it may be called "Picked Alembic". If I fire up the rig later I'll check.

Hey
I am glad I listened.....sounded great! Even on crappy ol ear buds.................

Beeps
 
Now that you mention your SG....I need to get mine fixed.....It was the first "real" electric guitar I purchased after my Sears Silvertone.....the finger Killer!!!!
 
i have and never will sell my SG.....I love it so much...It is a very...very ...very early 70's model in walnut and with a Bigsby.....
 
A few years back I was tring to get the bridge fixed and the shop that had it for what ever reason just would not fix it....they had it for several months so I finally got so frustrated with them that I went over and got it and never went back.....and it never got fixed........Man I hate that!

@Truckermusic... Sadly I sold my early-mid 70's reissue of the 60's era SG Deluxe (or whatever it was... I didn't care she just played nice). She was a beautiful, crisp, fast and light guit I could use for pretty much anything. I put that axe through hell and took it thousands of miles onto dozens (if not a hundred) stages in the relatively short time I owned it.
 
Thing is I've always owned and used beater gear due to the aggressiveness of my playing the audience it was directed to. Kind of like beater cars you drive into the ground. I tried to take good care of it but it was very hard in those environments and there were quite a few catastrophic events caused by the audience, in the back of vans or by me getting a little too "theatrical" on stage. Really quite surpising how well that guit put up with the abuse thrown at it. It was REALLY light and the wood was dry due to it's age but took some hard bashing and held together better than other, more thick/solid axes I've owned.
 
I had however crushed the nut (for some reason I seemed to always crush guitar nuts on everything I owned... not doing that anymore but it was a real problem), cracked the body (which I actually managed to repair in a very unorthodox way I won't share because it would make people cringe but it was brilliant and funny), the electronics were getting corroded, the original machine heads were popping/dying one by one, etc... so I sold it to somebody willing to invest in the repairs it needed (who then found a less psychotic and abusive buyer so hopefully she's in a better home now). I got a fair price considering and although I do miss her it just wasn't a very practical guitar for me back then nor do I think it really would be for me now that I've mellowed (not by choice) and only play quietly in a dark little room by myself.
 
Whoever has that old SG got a REALLY nice axe with a lot of special character, war wounds and mileage. I hope they appreciate it.
 
As far as future purchases of SG's... I've owned a few now (mostly Epis) and they seem to be the easiest for me to play and the sound is usually right in the range I like to get. Nice, bright midrange with just enough meat. They are also ridiculously light which is easy on my back and the thin neck (but reasonably wide fretboard) let's me doing all my crazy hand twisting chord stuff. The thin neck + neckthrough let's me do the dastardly Beeps tremolo too because I dislike whammy bars and all the maintenance bullpizzle that comes along with them. I used to do calculated full tone drops by grabbing the headstock and reefing on it and would do vibrato stuff on chords  just wobbling the neck. Can't do that crap with bolt ons.
 
Man... I need another Gibby.

Thanks fellows!

Beep - I do have a Squier bass here, equipped w/ flat wounds, so I could technically record a proper bass track. I was just so focused on wrapping up everything as quickly as possible that I did not bother. 
 
You know, the funny thing is that the guitar that works best for the kind of stuff is the good old Epiphone Les Paul Standard. I do have a Traditional, with "better" pick ups (or at least, they have better definition) but the Standard has a certain type of mids that just fit the bill better than anything else. 
 
I've been wanting a Gretsch for the longest time, but in the absence of it, I now know that that LP is the best tool I have at my disposition. 
 
The Gibson SG has even "better" pick ups, and that guitar just cuts through a mix like nothing else, but I couldn't lay proper foundation for this type of track with it. So it was LP Standard for the most part, overdubbed w/ the SG for some more clarity.
 
The Riviera (ES-type) was actually only used as an afterthought, for the big Em drenched in reverb because I needed the Bigsby to do that cliché type of thing. 
 
The real reason behind this is that I needed to cover up for the other guitars in the chorus which were cut a bit short before the second verse. And I was so focused on finishing the cut that I didn't want to re-track - I envisioned it as an engineer who's left with the tracks as is and needs to make something out of it. So I plugged the Riviera and recorded that one chord.
 
It's kind of cheesy so I thought it was okay for it to really stand out rather than try to blend in.
 
Julien - Yeah, I guess eventually I would need a big old Fender, at least for this type of stuff. But that's only part of what I do - trust me, the Marshall will get plenty of use here. We also want to do something that's more metal oriented, and I have my own other projects.

This is what happens when I have a few too many Corona's
 
Apostrophes start appearing everywhere?
Cool song. What organ did you use?