Wow thank you @Freds55! Such kind words! This preset is all Cooper, all I did was add the wah block
Love that one too, been awhile since I've listened so going back to give it a spin now!
The preset was for the live intro to this song, I just liked it so much I played the solo with it, no intent to replicate anything exactly.
What???
The first part of the solo in the studio version has been played with a strat
Yeah was just an observation
I'd never heard that. Dream Theater being my all-around favorite band (even though my love for their music has drastically dropped sans MP), I've read many articles, and watched many videos, so it kind of surprises me to hear that. Even the slide solo JP did on Anna Lee was done on an Ibanez. Are you sure about this? I don't know much about his Ibanez guitars from that time period, but I'd imagine they could cover that tone. He was endorsed by Ibanez by the time Falling Into Infinity was recorded, which is another reason this surprises me.
He is correct. I can't remember where I read it, but it did come up in an interview.
Yes i do confirm.. And if you listen you can clearly hear a strat sound in the neck position playing the solo part.. And yes he was an Ibanez artist but this does not mean that he or other endorser can t play a different guitar for some parts expecially in the studio.. It s quite common..
So true. Just look at Peruvian Skies. He does some simple arpeggios, outlining the chords, a quick run, some tasteful bends..., so melodic, and there's hardly anything that even a newb guitarist can't grasp.
Totally. Just awesome. I saw Dream Theater on their Black Clouds & Silver Linings tour and I remember just being blown away by the solo in The Count of Tuscany. All those beautiful volume swells and long sustained notes just gave me absolute shivers.
I love the ones that have both. Breaking All Illusions ticks all the boxes for me. Especially how he puts the clean arpeggio part in before the solo gets going. I don't have a problem with his shredding, as long as it's mixed in with the melodic playing. Sweeps, blazing 16th-note triplet, 3-note per string runs, bluesy diads, etc..., it's got it all. And all while being mindful of the underlying chords, and creating a song-within-a-song. That's probably the part of his soloing that stands out the most, for me anyway.
