Eh salut Drunkmaster, regarde ça, c'est Rory qui parle de ces différents Treble Booster ! Riche d'enseignement ! Il parle d'un "Hawk Booster" de DiMarzio !! Il faut qu'on trouve ça !!
For onstage amplification, Rory either relies on an old tweed 4x10 Fender Bassman. or an equally aged Fender Twin Reverb. He prefers using a guitar with a clean sound, like the Strat, and a really “dirty” amp. The Bassman is his first choice because he finds a bass amp well suited to his rough style of playing. He thinks that the idea of using four 10” speakers for bass guitar is ludicrous. Buddy Holly and Buddy Guy also used the Bassman, and Rory recommends it as a very loud amp for guitars. “As I’ve mentioned, I sometimes use a Rangemaster treble booster, though I’m using a Hawk II at the moment, which is much more expensive, but it gives more control.” He notes, “Basically, when I stopped using the AC-30, I stopped using the Rangemaster. Then I got the Fender Twin, and started plugging straight into it. I was happy with that slightly cleaner tone for a while, but I went back to using the booster again with the Bassman about a year ago. Ideally, I could still plug straight in if I played at a lower volume, but with the piano and everything else in the band, you need something to make the guitar more piercing.”
On the job, the volume on the Bassman is set at a little less than half of its full range, because of the extra boost from the treble booster. Even without the booster, Rory has never pushed his amp more than three-quarters of the way up. The bass and treble controls are usually about three-quarters of the way on, depending on whether or not the booster is being used. The amp has a presence control as well, which is set at 2.
Generally, Rory turns his Strat volume control straight up to 10 for solos, dropping it down to 7 or so for the in-between parts. The tone controls are usually up full, unless he takes to wiggling them for a wah-wah effect. Although all three pickups get their fair share of use, he particularly likes working out of the middle one, and for a solo he’ll often switch from the out-of-phase position to the in-phase position, depending on the effect he wants. “That’s what I like about the Strat,” he explains. “You can do so many different things with it. If it had a built-in treble booster to give it that humbucker fuzz, it would be unbea-able. But I’ve got a fuzzy amp, so I get that anyway. The main thing is that I never turn the amp up full. I have it miked through the PA, of course, but not very much, unless we’re playing in really big places. Most of the time, there’s just a hint of guitar going through the PA to send it out to the audience a bit more. The amp does all the work, but it’s a loud amp to begin with.”
Nowadays, Gallagher uses his Bassman amp for recording, although the old AC-30 is still rolled in from time to time along with an ancient Fender Deluxe (with one 12” speaker) that he uses occasionally for overdubs. Rory never plugs directly into the studio board. Apart from the treble booster and an MXR phase shifter (“just for fooling around with”), Rory finds effects pedals and devices unnecessary. Effects, as far as he’s concerned, “should come from the hands. I’m not against groups who use effects. I suppose you have to experiment with them, since you never know when something interesting might crop up, like the Mu-tron. McLaughlin has every string on his guitar going through a synthesizer, and that’s quite good, but nothing gets to me like an ordinary guitar going through an amp.
