The conversation happening under Acceptable Use of Factory Presets and Samples? is starting to reflect the subject matter that is examined in the film Good Copy Bad Copy, so I thought it would be a good idea to reference it here in case any ACB readers haven’t seen it yet. I have been showing this one hour long documentary to friends and students since its release in 2007 and highly recommend it.
Good Copy Bad Copy is a fascinating look at the current state of copyright law and how it clashes with popular culture. The film has extended interviews with artists like Danger Mouse and Girl Talk, industry big wigs like Dan Glickman CEO of the MPAA, and IP and music copyright expert Dr. Lawrence Ferrara director of the music department at NYU. It covers the Brazilian phenomenon Techno Brega, a form of electronic music that merges western pop songs with latin styles, and takes a look at the rapidly expanding Nigerian film industry. The film can be viewed here at ACB, at their website, or legally downloaded from a torrent (www.goodcopybadcopy.net).
I am not, nor will I ever claim to be a guitarist, so please forgive the playing in this example. I do like the sound I have achieved here though. To get it I ran a cheap Fender Squire through VST distortion, thickly modulated chorus, followed by delay, and reverb. It’s very 80s, although I was not necessarily going for that. I does seem to go well in the piece in which it was recorded. 
I created this synthesized effect using a Korg MS200 Analog Modeling Synthesizer. I often use this instrument with the external sync enabled for arpeggiation and and tempo delay processing. The delay does some strange things with the external sync enabled. As you adjust the delay time it jumps from different units of time within the tempo including triplets. This can produced some future dub, spaced out, synthethized effects when the feedback is up all the way. 
Here’s the piano from the last entry without the distortion applied. I left on all the other processing including limiting, stereo chorus and reverb. Now you can hear why I was not happy with the original recording. The recording is a bit noisey and although I used a nice mic (AKG c4000b large diaphragm condenser), the piano is quite old and suffers from a thin sound along with knocks and rattles that occur when using the keyboard and pedals. One might hear these features as the instruments character, but that rational only goes so far. I do like how limiting is manipulating the dynamics in the example. Adding the stereo chorus and reverb blends much of the rattling and knocks into the overall sound while the limiter expands the noise as the sound decays.