Stevie ray vaughan

ce mois ci il y a un mag avec SRV en couverture....

hé oui ca va déjà faire 20 ans et pourtant ......

bref.. BRIAN SETZER dit " Je regardé jouer Stevie du cotés de la scène.
il m' a appelé, m'a tendu sa guitare et m' a dit : "va-y, joue."
Je m'attendais a ce que le son soit énorme, mais a m'a grande surprise, ce ne fut pas le cas.
J'ai alors réalisé que toute sa puissance venait de ses doigts et rien d'autre."

la chance quand même d'avoir essayé

il y a ca aussi

SRV AMP :

Early 1980's

Stevie started out with just two Fender Vibroverbs, amps with single JBL E-130 15" speakers[1]
inside them. The Vibroverbs stayed in his rig often, as he would blend other amps together. His
collection grew, however, as did his fame, and money. Here is a list of the amps, along with settings,
that he used through his career, in chronological order.

1981

Along with the two Vibroverbs for distortion, he added a Marshall Club & Country combo amp, with
2 12" Celestion G12-80 speakers, for the "clean" part of his tone. He would use the 4x10" model
made as well.

Settings

On the Marshall, he would set all the controls to "7", but would run his hand down the bottom of the
knobs, setting them all to "10".[2] He would do this when he covered Jimi Hendrix's cover of "Manic
Depression (song)".

1982

Around this time, he switched to Fender Twin Reverbs: one "blackface" and one "silverface".

For the recording of the debut album Texas Flood in November 1982, he discovered, as it was
Jackson Browne's studio in Los Angeles, a Dumbleland power head with 6550 tubes laying around
in the studio. Stevie loved the clean sound of this amp and ordered one later on.

At the infamous concert at Montreux in 1982, he used a Music Man 115 HD EVM amplifier from the late 70's. It
can be seen on stage, on the drum platform.

1983

Going back to the Vibroverbs, he added a "blackface" Fender Super Reverb in early 1983.
In mid-1983, Stevie ordered a Dumble Steel String Singer, which had 6550 tubes and 150 watts of
clean, but loud tone, and was used with a Dumble 4x12" cabinet.
He briefly used a Dumble Overdrive Special, but preferred the Steel String Singer.

Settings

On his Super Reverb, Stevie had the "bright" switch off, input 1 into the Vibrato channel, Volume on
6, Treble 4 ½, Mid 4, Bass 3, and Reverb 2 ½.[3]

1984

Stevie kept the Vibroverbs with the Dumble Steel String Singer (SSS) and 4x12" cabinet. All of the
speakers were upgraded to Electro-Voice speakers.
He acquired a Fender Vibratone, a Leslie speaker-style cabinet, in which a styrofoam rotor with 2
slots in the sides was rotated around a 10" speaker. He would always use one Vibroverb to drive the
Vibratone.
He also added a decal to the Dumble SSS which read "King Tone Consoul".
In September 1984, Stevie used two Fender Vibroverbs, a Super Reverb, and the Vibratone.

Settings

In early 1984, one Vibroverb was set with the volume and tone controls on 7. The other was set with
the bright switch on, Volume on 5 ½, Treble on 10, and Bass on 5 ½.
The Dumble SSS was usually set with "FET volume low, but master setting high. The treble and
middle was set on about 6, bass on 4, hi-step and low-step filters on 7, Reverb Send and Returns on
6, and Master on 7 ½.[4]
In late 1984, the top Vibroverb was set with the volume and tone controls on 7, allowing him to turn
up to 10 if he wanted. The bottom Vibroverb was set with the bright switch on, with Volume on 5 ½,
Treble on 10, and Bass on 5 ½.
The Super Reverb was set with the volume and tone controls on 7 as well.

1985

In January 1985, for the Japan Tour, Stevie had two Vibroverbs, one driving the Vibratone; a Super
Reverb, and two Twin Reverbs: one "blackface" and one "silverface".[5]
For the recordings of Soul to Soul, he brought in every amp he owned at the time into the studio.
In the remainder of the year, he used the two Vibroverbs, one driving the Vibratone; Dumble SSS
driving a 8x10" Marshall cabinet, and a Super Reverb on top of a Dumble 4x12" cabinet.
Stevie once used 4 JCM 800 combo amps and a JMP power head with a 4x12" cabinet.

1986

The amps stayed the same throughout 1986. He ordered a newer "blackface" Dumble SSS and used
it along with the older "silverface" version.

1987

After getting clean and sober, he returned on the road with a new energy and purpose. The amps that
were on the road at the time were usually the two Twin Reverbs, and two Dumble Steel String
Singers (in this case, one driving the Vibratone) on top of a Super Reverb.

Settings

On the Dumbles, the "silverface" version was set with FET Volume on 1, Normal Volume 4, Treble
4, Middle 6, Bass 5, Hi-step filter 6, Low-step filter 4 ½, Reverb send 5 ½, Reverb return 5, and
Master on 7. The "blackface" version was set with FET Volume and Normal Volume on 3, Treble 6,
Middle 5 ½, Bass 6 ½, Hi-step filter 7 ½, Low-step filter 4 ½, Reverb send 4, Reverb return 3 ½, and
Master on 6.
The Super Reverb was set with the Bright switch "on", Volume on 10, and Treble, Middle, Bass
knobs on 9.[6]

1988

Around 1988, he used less amps, but amps with more power. He started using a Marshall Major, a
200 watt power head, which was used with the Dumble silverface SSS that drove the Fender
Vibratone. These were placed with two 4x12" cabinets.[7]

1989

In mid-1989, most notably from the Live From Austin, TX video, he had a Fender Vibroverb driving
the Vibratone, the blackface Dumble SSS and Marshall Major, both power heads driving two Super
Reverbs.

1990

Stevie took a couple of Fender '59 Bassman Reissues in 1990, and used these with a Vibroverb
driving the Vibratone. The Bassmans were kept with stock tubes, but changed out the speakers for
Electro-Voice EVM speakers.

Settings

On the '59 Bassman, as guitar tech Rene Martinez reports, Stevie used the 1st Normal Input with
Volume on 8, Treble 8, Middle 7, Bass 6, and Presence on 8.

Tubes

In his Fender amps, Stevie liked the 5751 tube in socket 2 (reverb preamp) for lots of headroom and
gave his signature clean, but loud sound. He would also prefer Philips 6L6's and 12AX7's, as well as
GE 6550's. Mesa Boogie STR387's and STR415's were used in his Vibroverbs and Super Reverbs.
The Dumbles used 6550 output tubes.
The Marshall Majors had four KT88's, and were replaced with EL34's often when they could be
found.

Transformers

Stevie's amps contained 3/4" baffle boards. As a result, with the extra weight on the speakers, it
required some repositioning of some transformers in the chassis. For example, the Vibroverbs had
Super Reverb-style transformers because of the extra power.

Rectifiers

Most of Stevie's amps had solid state rectifiers in order to keep the transformers from blowing up.

ou encore ca..... avec tout ca, il y a de quoi faire divers essai

Stevie used EVM speakers in his amps and had to replace the chipboard Fender baffle for a thick plywood to handle the heavy (and loud) EV-speakers. The EV speakers can handle a LOT of power and don´t distort like vintage speakers. His Super Reverbs had these and I believe his Dumble cabinets had these too. He also changed the 15" speaker for his Vibroverb (that he later used just to drive his Vibratone) Stevie used JBL E130-8 speaker, not the original D- model. Stevie didn´t like the tone of speaker distortion and those powerful speakers also made his tone so clear and powerful.

SRV used to prefere diode rectifiers to keep the bass tight and to have more headroom and less compression.

About Stevie's amp settings, there are not much info about it, but on some photos you see some settings and you can also try out the SRV settings if you have similar gear.
Stevie had a lot of bright high-end that makes the tone cut through the band and it makes the tone very clear also, you hear every note and nuance. But the tone was not thin because he also had a lot of middle on it. Here is one Super Reverb setting that is also on some photos:

Super reverb = Guitar to Vibrato Channel to the 1st jack: Bright switch on (up), volume 5,5 (already slightly distorting) Middle 9, Treble 9, Bass 2. Stevie did not use the Reverb or Tremolo (actually it was disconnected).

The tone is very bright if you play with it at your bedroom, but add a hard hitting drummer and a bass player with 200W amp, use your neck pickup mostly with a big tone rosewood neck Strat and you are there!!! Stevie also adjusted his volume and tone a lot, with volume down the tone gets darker and you can always fine-tune the tone with your tone knob.

As you see the Bass is low (2), but you can´t set it higher if you play hard, because the low end gets farty and too loose. There is still nice low end with Super Reverb with Bass on 2 and Stevie also had Vibroverbs with 15" speakers, Dumble with 4x12" cab and Marshalls so there was no lack of low-end with his rig!

The Dumble settings are also known, but there is not much help for others than Dumble owners and I quess there are not too many of them ;-)

He basically set them for a very loud clean tone (and the clean on Dumble is a KILLER!!!)

Ross William Perry e-mailed me that Stevie sometimes miked the amps also from the back for huge tone.
The Vibratone must be miked with two mics for true Leslie effect, but I have heard that this back miking has been used also in studio with open back combos. Don´t know if Stevie did it with his recordings.

EFFECTS:

Basics:
Ibanez Tube Screamer (TS-9 or TS-10) before Vox wah-wah.
If Stevie used Fuzz Face that was before Tube Screamer.
Earlier Stevie used MXR Loop Selector to bypass effects.

I just got few photos from a small club at 1984 Scandinavian Tour that were took at Sweden.
Some are "gear photos" and were took just to see what gear Stevie played.
He had: Ibanez TS-9 (you can see very well it is a TS-9, not a TS-80 into Vox wah-wah. Stevie had the TS-9 before wah-wah. There is also MXR Loop Selector between Vox and TS-9 and he used it as bypass switch to bypass the effects and to go direct to amp.

He had there late 70's master volume silverface Fender Twin Reverb and on top of that a Fender Vibratone. There is some masking tape in the front grille, but no microphones in front of the amp. The Vibratone is micked and next to the "Fender-tower" there is a early 80´s 4x12" Marshall cabinet that seems to have microphone in front of it.

I can't see any other amp there (maybe the Dumble was too much for a small club) and the Twin must be driving the Vibratone and the Marshall cabinet. I have that show on tape and the Vibratone is not on very often.

Vibratone has an switching system when the Vibratone is shut off, the amp's speakers were switched in (this time the Marshall cab). When the Vibratone is turned on a special filter send the extreme highs and lows to the amplifier's speaker and most of the tone came from Vibratone.

On 1988 European Tour Stevie only had his Dumble head and a 200 watt Marshall Major that is neither an amp for big distortion so he had his distortion from a Ibanez Tube Screamer TS-10. Stevie used Tubescreamers earlier with Fenders for gain using much output and very little distortion (that is the best way to use these) but on one photo you can see him set his TS-10 as:
(these are TS10 numbers) Drive:5 Tone:+3 Level:7.
The Tube Screamer settings are different what Stevie used earlier, there is actually more distortion from the pedal and that shows that he had quite clean tone from the amps. Both amps are famous for big headroom and his big 1988 tone must be from the amps just on the edge and the distortion is from TS-10. With smaller Fender amps he used earlier that are easily distorting by themselves, Stevie needed the TS only to boost the signal for leads.

Here is another great photo where you see his effects, first a Red Dallas Arbiter Fuzz Face into Ibanez TS-10 into Vox wah-wah.
Here the settings are different: Drive must be below 2 (or over 9) because you can't see the green notch, Tone: 0 and Level: 5. So here he has less distortion, less treble and less output...

This comes from reliable source: When Stevie was asked in early 80´s about what he thought about the "new" (TS-9 Tubescreamer ) compared to the older one (TS-80 .... and this may surprise most people that read the misinformation through the years that SRV favored the 808, Stevie said that he liked them both but the"new" TS-9 one better because it had slightly more bite !!!! and this is first hand info from the Horses mouth!!!!

Paul Crowther from Crowther Audio told me that his friend Midge Marsden stayed with SRV at his Dallas home for about 2 months, and Midge noticed that Stevie had a Hot Cake amongst his equipment. Midge was able to tell him that he knew the person (Paul Crowther) who made them. So..SRV definitely owned one...but I'm not sure how often he was using it. Hot Cake is a ticket to a great SRV tone IF you have a good amp to start with. There is NO pedal that could get THE tone with moderate amp!!!

Octavia: Stevie started using Octavia in 1989. First he had a Roger Mayer Octavia and then Cesar Diaz found some NOS Tycobrahe Octavia´s and Stevie started using those. Stevie used one from then on on live shows (he never recorded with one). Stevie used Octavia mostly in "Voodoo Chile (slight return)", but also on "Mary Had A Little Lamb", "Wall Of Denial", "Going Down", "I´m Leaving You "(commit a crime)" and "Riviera Paradise" !!!!!!

You can see (and hear on Voodoo Chile) the Roger Mayer Octavia on the DVD that comes with the SRV Box.
It is the grey rocket shape pedal far left from Stevie.

In late -89 Stevie added Fuzz Face (first Roger Mayer Classic Fuzz, then vintage Fuzz Face and later Diaz modified Fuzz) to his pedal board that stayed there until the end.

stevie c'était l'yngwie malmsteene du blues mais avec plus de toucher et des meilleurs conditions que le norvégien

tres simpa toutes ces infos sur le maitre !

Je ne suis plus trop dans le delire du son a la Vaughan, mais en tout cas c'est super recherché et précis!

En effet il y a de quoi faire, mais par contre il manque toujours l'ingrédient le plus important : les doigts et le feeling de dingue

c'est clair il pouvait avoir tel ou tel matos, avec lui ca sonné toujours d'enfer !!!!!

pour info il es suedois d'origine pas norvegien.............

Aujourd'hui, ça fait tout juste 20 ans qu'il est parti...

Le temps passe mais n'a pas de prise sur sa musique. Toujours aussi puissante.

RIP Stevie Ray Vaughan.

je ne connaissais pas ce musicien avant g.com
j'ai eu pourtant beaucoup d'albums d'artistes
quels sont d'après vous ces titres cultes ?

Lalbum Texas Flood

Le CD avec Albert King est incroyable, c'est enregistrement de SRV que je préfère. Ici pas de gimmicks inutiles, on ne fait pas le zouave devant un de ses guitaristes préférés.
Même si j'apprécie SRV je lui préfère largement son grand frère Jimmie, the less the best pour moi. C'est un avis personnel qui ne cherche pas à mettre en doute le talent du cadet des frères Vaughan.

chouette moment, merci mojose66

mojose66: Comme ils ont un style légèrement différent (les deux frère), je suis par surpris que certains puisse plus aimer Jimmie Vaughan. Pour ma part c'est clair et net que je préfère 1000 fois plus le jeux de Stevie. Ça me fait penser une vidéo de Pipeline jouer par les frère sur une guitare deux manches, une fois je porte pas trop attention à qui joue sur quel manche et fait: Tiens, il est bon Jimmie, intéressant ce qui fait là, m'impressionne, bah je me suis rendu compte que c'était Stevie qui étais en train de jouer. C'est vrai qu'il en mets plus, c'est pourquoi je trouve son jeux, entre autres, plus groovy, avec toute les note bloqué qui joue, les contre-temps qui va gratté, vraiment comme un train qui roule quand il est partie lui sur une guitare.

@ sacred ----> Des chansons cultes.

Pour les blues bien calme: Lenny, Tin Pan Alley, Life Without You, Riviera Paradise, Dirty Pool, sa reprise de Little Wing évidemment

Les bons blues: Pride and Joy, Cold Shot, Mary Had a Little Lamb, Couldn't Stand The Weather, Look at Little Sister, Texas Flood, I'm Crying, Crossfire

Pour les plus énergique: Love Struck Baby, Rude Mood, Scuttle Buttin, Testify

Pour les plus Psychédélique: Voodoo Child, Third Stone from the Sun, Sy What,

Si tu t'en tiens à ses chansons(Qu'on peut entendre en bonne partie à la radio (au Québec), bah tu aura raté encore pleins d'autres perles de la discographie SRV.