Le matériel des guitaristes pro(s) - (Sommaire en page 1)

Personne?

c'est quoi les genres de zvex qu'il y as un peu partout?

Je sais que dans le lot il doit y avoir une Lo-Fi loop junkie qui luis sert pour des boucles en fin de morceau, comme sur My Generation par exemple.
Et à bien y regarder, on dirait que ce ne sont QUE des Lo-Fi Loop Junkie.

Si on prend cette photo,



on a de gauche à droite pour le premier pédalier :

_ Boss SL-20
_ aucune idée
_ Z-Vex Loop junkie plus un truc en dessous
_ footswitch Boss
_ SIB Echodrive
_ Z-Vex loop junkie
_ Boss DD-5 ou 6
La rangée du dessous comprend ce qui ressemble à une reverb Boss et un pédalier custom Mike Hill

Derrière le pied de micro, on aperçoit un Boss TU-2

Le pédalier de droite comprend de gauche à droite et de haut en bas :
_ trois Z-Vex loop junkie
_ Boss DD-5 ou 6
_ Pete Cornish SS-2
_ Ibanez Tube Screamer
_ footswitch Boss
_ pédalier custom Mike Hill
_ wah-wah

Sur d'autres photos on peut également apercevoir une whammy Digitech WH-4 ou encore un reverse delay Danelectro.
En tout cas, tout ça ressemble furieusement à ce qu'il devait utiliser sur la dernière tournée.

Burchill’s main two guitars are the aforementioned Hilkocaster and Hilko Little She Devil, but there are four additional guitars in the rack: a Gretsch ‘Billy-Bo’, which is tuned down a semitone and used on ‘See The Lights’; a Gibson Les Paul for ‘Hypnotised’; a Gretsch White Falcon ‘62 for ‘Home’ and ‘Someone Somewhere In Summertime’; and a Gibson ES135, which serves as a spare for the Billy-Bo. When Hilko first hooked up with Simple Minds’ crew, Charlie was taking a fair few more guitars out on the road with him.
“I always say to him, ‘Less is more!’” laughs Hilko. “You can take guitars on the road, but you need to service them, and you’re on at festivals where you’ve got the stagehands who are not aware of the expensive guitars and they get bunged around. It’s better to have a couple of good guitars than a whole lot of guitars to take on the road for this song or that song. Take a guitar that you can do loads of things with.”
A few years ago, Hilko convinced Charlie Burchill to move away from his digital Line 6 amp setup and instead dig out a couple of Matchless DC-30s that had been gathering dust at the back of a rehearsal-room storage cupboard.
“In 2005, for the promo tour for the Black And White 050505 album, when we did radio shows all over Europe and gigs in clubs, Charlie was playing on a Line 6 Vetta,” explains Hilko. “I hate those things because you lose all the character of your guitar. The processor in the Line 6 is quite crappy. You’re better off, if you want to do digital with a guitar, to go with an Amp Farm or something like that. But I don’t like the digital stuff, and the front-of-house guy always had problems. It was quite hard to bring all the guitar sounds up to the same level. I said, ‘Why don’t we just try to use the effects of the Vetta through two DC-30s?’ We did that and it was sounding a lot better. The front-of-house guy was a lot happier because he could focus on other stuff rather than pushing faders up and down whenever needed!”
The current rig employs three slightly customised Matchless DC-30s, just the same as was used for the recording of Graffiti Soul, with the middle amp carrying a dry signal and both left and right carrying the effects. “The other thing is they not only sound good, they never break down,” enthuses Hilko. “The only thing that breaks is a valve or something like that. Not having to service them on the road means I can spend more time on guitars. I plug in the amps and they’re always working, so I don’t waste time fiddling around with fuses and anything else that can go wrong.”

“Right now, we come out of the guitar and go to a volume pedal, then to a Fulltone Dej Vibe, then a Fulltone Clyde Deluxe wah-wah. After the wah-wah, we split the signal. One signal goes straight to the middle amp and the other signal goes into the G-System with all the effects, and then we go out left and right.”
Pedals include an old Russian Big Muff, a Fulltone OCD overdrive, a Boss CE-1 Chorus Ensemble and two Matchless Hotboxes. Both Charlie Burchill and bassist Eddie Duffy use the Sennheiser EW 500 G2 wireless system. “You always lose some tone, especially with bass, if you use a wireless system,” says Hilko, “but I think this is the best system available on the market now. It’s always better to play with a lead, but you can’t do that with Simple Minds. All sorts of bands are using that system.”

Talking of guitars, Max brings four on the road with him, all without their top B- and E-strings. He cheerfully admits that he’s useless at solos, concentrating his efforts on riffs. “I play my signature ESP Viper. They’re kinda old now, but they’re still my favourite. It’s a Gibson SG shape with the Brazilian flag on it. There’s a special edition that isn’t really a special edition — it’s just a f**k-up by ESP! For the first one I asked them to do, they thought that the Brazilian flag was just a rectangle. They didn’t know that the extra green bit was part of the flag. I loved that mistake! It has just a black flag on it.
“I also have a white ESP that is similar to the BC Rich Warlock, which I used for many years. A lot of people liked that one, with the Discharge sticker. I’ll have to get a sticker for this guitar! D is the tuning I use most. The second tuning is B. The last tuning is A, which is for the song ‘Eye For An Eye’, the last song in the set. That’s quite low, but that song only needs one string — I use 13s.”
Asked if his guitars require special intonation because the string tension is less with only four strings, he says, “No. The guitar just gets used to it by nature. It’s like if you chop your arm off, you’ll get used to it, right? It’ll still be missing, but life goes on.” To make up for his lack of shredding ability, Max has always worked with guitarists who can supply leads, from the sublimely fast-fingered Andreas Kisser in Sepultura to Marc Rizzo in Soulfly. He shakes his head in admiration of Marc’s technique, a blend of insanely fast alternate and sweep picking.
“Marc can grab a piece-of-s**t guitar and make it sound like a vintage Gibson,” he laughs. “He also carries an extra distortion pedal for me. I’m not into worrying about my guitar sound, so I said to him, ‘You love guitars. Do it for me’, and Marc sets up the distortion for me. I don’t play most of the clean guitar parts these days, I just let Marc do it, so my distortion is always on.”
Max’s on-stage setup is simple. “I use two pedals. It’s been like that for 10 years,” he explains. “One is a Boss flanger, and the other one is my favourite pedal ever. I’ll tell you why I like it so much; the thing is rigged wrong! Something went wrong with it somewhere. It’s supposed to be some kind of octaver, but it doesn’t do that. What it does is amplify whatever you’re playing in the weirdest way. It does add a little bit of octave, but it makes sure that what you’re playing is 10 times louder than anything else on the stage. It’s the loudest pedal ever and my soundman hates it. He tried to hide it and throw it away once. He didn’t succeed because the rest of my crew saw him and said, ‘Don’t touch that!’ If it ever breaks, I’ll have to call somebody and ask them to make something that does the same thing. It’s so crazy. I don’t use it a lot, but when I use it you’ll know!”

Phil Collen is Jackson all the way when it comes to the electric guitars he likes to fill his side-stage racks with. For the Leppard shows in Dublin and at the Download Festival, it’s the band’s ‘B’ rig that’s been called in to play, with six Jacksons on board, including five of Collen’s signature model and a rather special new recruit.
“If I was using the ‘A’ rig, I’d probably bring along about eight to 10 electrics,” says Scott. “For this particular rig, I’ve actually got a new one that’s gonna come in, but it’s top secret, so I can’t reveal that one yet until we’ve heard from Jackson. We’re really excited about it. Phil also has his own Jackson signature, the PC1 model, that he’s used for years. He’s been with Jackson since, I guess, the early ‘80s. We’ll have five different PC1 models, varying from one that we call ‘Solar’, which is kind of a yellow-and-orange-burst type scenario that I’ve relic’ed over the last couple of years and made it look like it’s been around for a hundred years, even though it’s a new guitar [see box on opposite page].
“He also got a new one last year called ‘Big Boy’ — that’s its nickname. It’s got a huge neck on it — a big, beefy, almost ‘50s Les Paul-type neck — and it’s an unfinished guitar, which is kinda cool. It’s an oil finish over the top, so the guitar resonates really well. We use titanium saddle pieces and tremolo blocks on the Floyd Roses for everything, and that’s really helped refine his sound a little bit over the last couple of years. It gives you more sustain without being overly bright or brittle: very defined, but not sharp or harsh-sounding at all.”
Adam Reiver, who runs www.floydupgrades.com, has done a lot of the work and provided a lot of the customised products that now form an important part of Phil Collen’s Jackson axes, including the titanium modifications, which he’s now been using for about a year. “These titanium parts have worked phenomenally well for us,” explains Scott. “Adam brought out the sustain block on the bottom of the tremolo unit first, then he started bringing out the saddles and inserts and stuff like that as well. It’s just made an amazing difference to the instruments!”
As to what particular guitar is used by Phil for a particular song, that tends to depend on each instrument’s individual tone. “Every guitar that you have are obviously different pieces of wood and all instruments have different tones,” says Scott. “We usually match a guitar up to the sound of certain songs. It’s trial and error. Phil may go through a couple of shows and go, ‘Oh, I didn’t like that particular guitar on this song. Let’s try this one!’ It’s about what tone fits the song the best!”
Phil Collen will also be playing a new Guild acoustic for the two British and Irish dates. Def Leppard lead singer, Joe Elliott, whose acoustic guitars Scott Appleton also manages, will be playing his Taylor acoustic through a Samson UR-5D wireless into a Taylor K4 Acoustic DI.

The rest of Phil Collen’s ‘B’ guitar rig kicks off with a Samsung wireless system. The ‘A’ rig is identical aside from the fact that the effects are in a slightly smaller rack. “We run the Samsung UR-5D wireless, and that’s where our signal chain starts,” says Scott. “That goes through an isolation transformer, and then we run that through a Digital Music Corporation Ground Control and GCX Expander. The main current source for the rig is a Marshall JMP-1, which has been around for 20-odd years, and it’s a great piece. We also use a couple of old Alesis MidiVerbs, which are primarily used for giving the rig a little space. There are a couple of really nice presets on those units that give you a nice space to the whole sound and a nice little stereo image out of everything.
“We have a TC Electronic D-Two delay, which is our main delay for everything, and a TC Electronic 1210 chorus unit, which is all the main chorusing. We also have an old MXR grey stomp box flanger that we run in a loop, and then we also use two Palmer PDI-05 speaker simulators for the rig. I run a Drawmer gate for a good noise gate on the outputs, which works fantastically well. The output of the Palmers actually goes to the monitor rig, FOH, and then the jump out of that goes into two old Randall RRM-2-250 solid-state power amps, which Phil’s been using since the early ‘80s. Those two amplifiers run four Marshall 4 x 12 cabinets on stage for the on-stage sound, but everything goes through the in-ear monitors on stage, so there’s no microphones on stage anywhere as far as the guitar rig goes!”
While there have been no changes made to the ‘B’ rig since it was last utilised by the band in Japan in October 2008, there will be changes made to both the ‘A’ rig and ‘B’ rig later in the summer. Scott explains, “We’ve been using the Palmer speaker simulators, and what we’re gonna do is run one after a power amp, because our front-of-house guy wants to hear one post-power amp to get a different dry signal. Typically, we just have a left-right stereo feed from the Palmers that our monitor guy in FOH gets from the guitar rig.”
Other than that change for FOH, Scott really doesn’t suspect there’ll be much more in the way of change. “Phil goes under the old operative, ‘If it isn’t broke, don’t fix it!’” he laughs. “We’ve had a great deal of success with this rig and it sounds fantastic!”
Scott carries spares of just about everything in the rig when Def Leppard are touring.

On the 2008 tour by Ben Harper and his then band, the Innocent Criminals, Tim was looking after 10 instruments: three Weissenborns — a ‘Teardrop’, a Style 1 and a Style 2, all fitted with Seymour Duncan acoustic magnetic pickups; two Martin HM Ben Harper Special Edition signature acoustics, which were “pretty fresh off the production run” and were fitted with the new Fishman Ellipse Matrix Blend System; three Bill Asher solid-body lap steels — two with humbucker pickups and one with Charlie Christians; a Custom Shop Fender Telecaster; and a Les Paul Junior.
As far as amplification goes, Ben Harper only took two on tour with him, both made by exclusive and secretive Californian boutique manufacturer Howard Dumble. One was an Overdrive Special once owned by David Lindley, who used to play with Jackson Browne, while the other was a 1 x 12 that Harper and the crew named ‘the Carpet’, as it was covered in carpet. According to Tim, the Dumbles suit both the tone of the Weissenborns and Ben Harper’s style of playing down to the ground. Every little part of the rig is aimed at maximising tone.
“They just sounded amazing going through the Dumbles,” explains Tim. “And with the Overdrive Special, the cab was specially voiced to the head, and even the speaker cable was specially made. All of the components of those amps have to go together to create the tone. I was even told, ‘Don’t lose the speaker cable — make sure it stays safe!’ because it’s all part of the overall tone.”
Ben Harper also refuses to use a wireless system because of the effect he fears it will have on his axe tone. “As good as modern wireless systems can be, Ben still believes that kind of stuff colours your tone,” says Tim. “His cable from his guitar to his pedalboard was just a standard sort, about five to seven metres. He could just about walk into the band area of the stage setup, but no further than that. He was sort of restricted to where he could go with his guitar in hand, but at the same time that was his choice. He didn’t want 50ft cables, because he honestly believed he’d suffer from signal loss.”
Harper’s pedalboard setup was resolutely simple, with an Ernie Ball Volume pedal on the right, a Jim Duncan Cry Baby on the left, and a footswitch to change channel between clean and overdrive. He used various different models or variations on the Ibanez Tube Screamer, including a customised TS808 manufactured by Maxon. When it came to delay and echo, Harper occasionally played through a Line 6 Echo Park. He also used a Boss TU-2 for on-stage tuning.

Phil Palmer owns approximately 25 guitars, but only uses about half a dozen: a Maton steel-string, a Takamine nylon-string and a selection of Strats. “Most of my guitars are stored,” explains Palmer. “I have a Nocaster from 1951, when Fender were making guitars that they wanted to call Broadcaster, but couldn’t because there was a court case going on over the name. It’s an early version of the Telecaster. I don’t use it live, because it’s too valuable.
“My main acoustic is a Maton, which is an Australian instrument. It’s fabulous — the best acoustic guitar I have ever played by a mile. It’s not too big, it’s not too small, it has an even sound, you can hear all the strings all the time, and the intonation is incredible. They’re hand built from Australian woods. It has a piezo and an internal microphone, and you can mix the two signals. I use 54-12 bronze strings, quite heavy, usually Dean Markley or Ernie Ball, but if it’s the right gauge it doesn’t matter to me who they’re made by. I have a second Maton that I take on tour with me as a spare.
“I don’t know the model number of my Takamine, but it has a pickup and a cutaway. In the studio I like to have a microphone in front of it, and the same when I’m playing live with George [Michael]. Because we use in-ear monitoring, there’s no sound on stage and I have this semi-circular baffle thing around me. I stick a mic inside the baffle and get it close to me, and it protects the mic from ambient sound. It works very well and it’s nice to be able to use a mic in a live situation. For a guitar to sound right it needs to be moving air, and that’s not what you’re hearing with a piezo.
“I’ve always been a Fender man, and to be specific a Strat man. I’ve had Gibsons, but I’ve never really liked them. Today, I only have a couple of Gibson J-200 acoustics, but they’re stuck in storage. The Strats that I use regularly are a bog standard red one, a couple of Custom Shop Eric Clapton Strats from 1989-90 with active electronics, and my main Strat is a Custom Shop one, which was given to me for helping organise Fender’s 50th Anniversary concert.
“I’ve been lucky with that anniversary guitar. Like with my Maton, you pick it up and it immediately feels great. It has a whammy bar, but I’ve locked that down, because I do a lot of double bending and I find that this makes the strings easily go out of tune. I don’t use a whammy bar at all. I use heavy gauges on the Strat — 52-10. I like the sound of heavy strings; it’s more responsive and gives more body to the sound. I have built up a lot of strength in my hands over the years! I use a Dunlop pick when necessary, but I prefer to play with fingers. I think that gives a lot more flexibility than strumming with a pick.”
The Fender 50th Anniversary concert took place in September 2004 at Wembley Arena. Palmer was musical director and his connections and reputation as a top-notch session player helped in assembling an all-star cast featuring, among others, Clapton, Joe Walsh, Dave Gilmour, Brian May, Hank Marvin and Gary Moore. A DVD of the concert called The Strat Pack was released in 2005.

Guitars
When playing with Steely Dan, Jon Herington’s lyrical, melodic approach to the guitar is performed mainly on his Gibson CS336, and occasionally on a Fender Telecaster, Hamer Monaco Elite and a bizarre guitar with bent frets that he calls his ‘Salvador’. The use of the half-acoustic 336 and the Telecaster are in line with Herington having one foot in the jazz and another in the rock camp, but, strangely, he appears to have reversed their uses; the 336 plays the more distorted material, while the Fender is used mainly for more clean playing.
“Walter is playing Sadowsky Strats all the time,” explains Herington, “so it works well if I have a different sonic approach than him. This is what led me to using the 336. It has a beautiful, wide range of tone that’s very good for playing Larry Carlton’s solos from the ‘70s and it also works well for jazzy, big fat rhythm guitar voicings, playing big chord changes. It’s the most comfortable lead guitar that I have, and the small body size means that it doesn’t feel as strange when I change to another guitar.
“In general, I prefer Gibsons, but Fenders have a certain sound and are more suited for playing clean, funky rhythm guitar, so I use the Telecaster on songs like ‘Show Biz Kids’, ‘I Got The News’ and so on. The Telecaster also complements Walter’s Strat, and sits better in the mix for certain single-note and/or muted-picking lines and R&B. My Tele has the treble pickup rewound to eliminate squealing, and a Van Zandt middle pickup was also added. It’s quite capable of a good solo sound and I play some solos on it, but mostly I find myself going towards humbucker pickups.
“I use the Hamer Monaco Elite for the track ‘Godwhacker’. It’s tuned to dropped-D tuning and has a capo. It also serves as a backup for if I break a string on the 336. Hamers are fantastic rock rhythm guitars. There’s something about their focused mid-range that allows them to sit easily in a track. At home I also have a beautiful Hamer Korina Artist and an old Hamer Special with Duncan P-90 pickups that I love, but I don’t use them with Steely Dan.
“My favourite electric guitar strings are Ernie Ball Rock ‘N’ Roll (pure nickel wrap), 10-46. Besides the greater ‘bendability’, there’s a certain ‘snap’ that’s only possible with lighter strings. For jazz guitars, I’ll use heavier strings. Contrary to what’s reported on the Internet, I don’t use a wireless anymore. Cables just seem simpler and they also sound better to me. I don’t use rackmount gear any more, so the wireless was an extra piece that didn’t seem worth bothering with.”
Amps and effects
“I have greatly simplified my on-stage setup over the years of playing with Steely Dan and I can now basically do the job with a guitar, a tuner, a reverb pedal and an amplifier. My amplifiers are a Guytron GT100 and a GT100 F/V, which is an updated version of the same amp. I carry two so I have a spare in case of an emergency. They’re great amps with two power stages — one clean and one dirty — and a beautiful sound. I use them with a single Guytron GT212 cabinet loaded with two different Celestion speakers. One is a Vintage 30 type and the other more a Greenback type with higher power-handling capacity.
“For most solos, I go straight to the amp with a tiny bit of reverb from a Boss RV-3 pedal, and that’s it. My pedalboard these days mainly consists of what I call problem solvers. I have a Boss pedal tuner and a volume pedal, so I can mute to tune. I also have a wah-wah pedal, and a boost pedal from Radial Engineering with a buffer. The buffer makes sure that I don’t use too much signal on the way to the amplifier, and I use the boost for when I switch to the Telecaster. I also have a box made by Barber Electronics called a Tone Pump EQ. I normally solo with my treble pickup and set the dirty channel on my Guytron to match that. Very occasionally, I solo with my rhythm pickup, but if I use the dirty channel, it will sound too dark. So when I switch to the rhythm pickup, I go to the clean channel and use the Tone Pump to boost the signal. It’s basically a high-quality clean boost. The pedal imitates what it would sound like if I went back to the amplifier to adjust the controls, because I don’t have time to do that live. But I don’t go for that sound very often. In addition, I have a noise gate, which I don’t normally plug in. Plus I have a tremolo pedal and a couple of delay pedals, but I don’t use them very much either.”
The Salvador
“The Salvador guitar? It was made for me by Paul Schwartz at Peekamoose Guitars here in New York. It has a chambered Warmoth Les Paul-style body with three Lindy Fralin pickups: an Unbucker for the bridge, a middle Strat-style steel-pole 42 (I think) single coil and a P-92 neck pickup. I tried a five-way pickup selector in the position of one of the tone controls, but it was difficult to use. The guitar now has a master volume close to my hand and three tone controls. The tone control for the Unbucker has a push-pull to switch it to single-coil mode, and the tone control for the middle pickup has a push-pull that allows me to turn it on regardless of the setting of the pickup selector at the top, which has three settings, one for each of the pickups individually. So I now have a wide variety of pickup settings, and it’s the first time I’ve had a guitar that can give me that fat bridge humbucker solo sound and also a convincing rhythm sound that’s ordinarily only available on Fender-style guitars. If I can only take one guitar for a gig, I’ll grab this one before any other.
“The reason for the nickname is the neck, which was made by True Temperament in Sweden. The company make guitar necks in three different temperaments. Because the frets are bent, it looks a bit like a neck drawn by Dali, hence its nickname. Basically, TT’s approach is to tune every single note on the guitar individually. My neck is made according to the Thidell formula, which is optimised for guitar keys like A and E and D and G. You can see me play it if you search for videos on YouTube of Steely Dan playing in Red Rock. I’ve decided to put a regular neck again on this guitar, because I find it difficult to use the True Temperament neck live. I’m too used to compensating for the flawed design of normal frets. Also, guitars go out of tune on stage and the TT neck makes it harder for me to identify which string is out, so I don’t have the confidence that I can keep it in tune live as I can with a standard guitar. But I’m having my True Temperament neck put on another guitar for use in the studio, because there is no question that it sounds better in the guitar keys.”
Tuning
“Even as I use a digital tuner, I actually tune all my guitars slightly differently. Insofar as there’s a general rule, it’s that when using a plain G-string I always tune the string slightly flat. I don’t like flat, but I find that fretted notes will sound right, whereas if the G-string is tuned exactly right on the tuner, fretted notes will always sound sharp when I play chords. Also, if I tune things slightly flat, I can adjust the intonation with the pressure I apply with my finger. I will also sometimes tune the low E a little bit low, because you get perfect fourth with the A-string, and this sounds more beautiful with distortion. When I’m recording, I may tune the guitar differently for each section of the song. The guitar is not a perfect instrument and our ears are sharper than they ever were, and the True Temperament people are really addressing that problem.”

Becker’s setup
Becker has long been known for his association with Sadowsky guitars, and since last year there is a Walter Becker signature model featuring a flamed maple top, chambered swamp ash body, custom-made Lollar P-90 pickups with F-spaced pole pieces on the middle and bridge pickups, a Brazilian rosewood fingerboard, locking Sperzel tuners, Gotoh 1089 bridge, and much more.
“I’ve played Roger’s [Sadowsky] guitars for a number of years,” elaborates Becker, “and we came up with this idea for a guitar. In fact, Roger has more or less perfected the design of this particular type of guitar. I could add very little to it, except for the setup here and there. I have a couple of them and it’s a fantastic-sounding guitar; a little bit different than the more conventional Strat-like guitars that I have played in the past. The P-90s give a different tone than the humbucking pickups on the Strat-like guitar, but without sacrificing the ‘realness’ of the Strat pickups, for lack of a better phrase. There’s something about Strat pickups that gives you a level of detail and information about the way you are hitting the string, which makes the music more complex and expressive. Once you get used to that, guitars with humbuckers don’t seem as satisfying.
“I use a Mesa Boogie Lone Star Special amplifier on stage and very few effects. All I have at the moment is a Demeter optical compressor stomp box and a Boomerang backwards repeat. I have about 400 effects pedals at home that I use in the studio — mostly analogue stuff, though the delay pedals are digital — but it doesn’t really make sense for me to use them live. You’re mainly just fighting for clarity, and the sonic environments in each theatre and on stage are so variable that you don’t want to mess with that. Our other guitar player does a lot of stuff where he changes the sound, so I leave that up to him.”
Becker’s above described setup is not only very simple, but also, apparently, rather transient. Herington, the other guitar player, observes, “Walter is changing his live setup all the time. Very often he’s putting in new speakers in different cabinets and changing his effects. For a while he had a Suhr amp and then he had a Tophat, and now it’s definitely the Mesa Boogie. Recently, he’s been cranking up a little bit more than in previous tours, which probably has to do with the P-90s hitting the amp a little louder.”

_ Boss SL-20
_ aucune idée

on dirait une maxon ad80... deux potards + un plus petit en dessous...