J'ai la réponse !!!! C'est le micro du milieu qui est ramené vers le chevalet, tout simplement !!!
Citation:
"I have an old Broadcaster that I use quite a bit," Robbie Robertson says. "It was made around 1948. With a lot of new guitars you plug 'em in, adjust 'em for an hour and maybe they sound pretty good. This you plug in and it sounds good. I've had this souped-up old Stratocaster quite a while. It has 'Number 254' on the back. You can tell it's old 'cause the neck's a little thick. Before I used it in Last Waltz I had it bronzed, like baby shoes. That gave it a very thick, sturdy sound. A Stratocaster has three pickups; I had the one in the middle moved to the back with the other and tied them together. They have a different sound when they're tied together, and I don't like having a pick-up in the middle, where you pick. I've got a Washburn whammy bar on that guitar. I have a 1959 Les Paul with flat-wound strings on it that I use if I want a thicker, fatter sound. Those flat-wound strings are nice for slide playing.
"On the wall in the studio I have four amps: a little 30-watt Vox, a very old Bassman, a Roland Jazz Chorus and a Fender Reverb with a souped-up tremolo. I have a switch so I can use any or all of those amps, and I use a slow gear pedal a lot. I also use these tiny old Fender Princeton and Harvard amps on some things.
"I have two cheap little Korg keyboards I used on the record; I don't even know the numbers - Daniel Lanois bought them for me one day. And I used a Yamaha piano/keyboard writing the songs.
"And I have an old Rickenbacker lap steel - I like the way it looks more than anything about it. These things were made in the late 30s and there's a pickup on it that wastes any pickup anybody has on any instrument now. Amps start weeping at the very sound of the power this pickup puts out! I talked to Seymour Duncan on the phone a few months ago - I wanted him to come down and help me suss out this pickup. He said he'd come down and I never heard from him again. Maybe he was afraid I was gonna tell him this story... "
Uh-oh - if you readers have gotten this far in this box hold on to your hats - 'cause Robbie just might be persuaded to tell us the previously unrevealed Seymour Duncan Story. Waiter, a couple more cocktails! "I met Seymour Duncan a long time ago," Robbie begins. "I didn't really remember the circumstances. One day I'm reading a magazine and he's telling how he got into pickups. It says that he met me in this place near Atlantic City where we were both playing, and we stayed up all night and played and he said, 'Geez - the sound of this guitar of yours - what have you got in it?"'
Robbie turns conspiratorial: "Now this was a style of playing I had learned traveling around the country with Ronnie Hawkins. People asked me about it a lot and I got bored so I used to make up stories. I'd say, 'I soak my guitar strings in hair oil,' or 'I cut swastikas in the speakers with razor blades.' So Seymour Duncan says to me, 'What have you done to your guitar to make it sound like that?' And not being able to think of anything better I said, 'I've got more windings in the pickups.'
"So anyway, I'm reading this article years later and Seymour Duncan says, 'Robbie Robertson told me about more windings, so I've put more windings in my pickups and I've gone on to make The Seymour Duncan Pickup!"' Robertson lets out a laugh. "And this whole business is based on a big lie! It never existed! I couldn't think of anything else to say!" Robbie takes a drink and smiles. "I never told this story before. I wonder what he's gonna think. " So do our ad guys, Robbie.
